Escolar Documentos
Profissional Documentos
Cultura Documentos
19301980
American Automobile
Advertising, 19301980
An Illustrated History
H EON S TEVENSON
To my late father,
Stuart D. Stevenson, BSc., C. Eng., A.M.I.E.E.
Acknowledgments
This book would have been difcult, if not impossible, to write without the help of many people in
England. I would like to thank the librarians at the British Library in London, at Cambridge University
Library, at the Sutton Libraries and Heritage in Croydon and Wallington, Surrey, and at York City Library,
for making available much rare research material from the pre-war and early postwar periods.
Sincere thanks are also due to Lynda Springate of the National Motor Museum at Beaulieu, Hampshire, for the chance to study dozens of rare catalogs and period documents and for providing copies of
advertisers originals of early Ford, Mercury, and Lincoln advertisements; to Tony Freeman for much useful advice and encouragement in the books early stages; to Margaret Rose, general manager, and Chloe
Veale, curator, of the History of Advertising Trust (HAT) Archive at Raveningham, Norfolk, for information on British advertising for Chrysler, Ford, and General Motors Vauxhall cars; to Taylor Vinson,
editor of the Society of Automotive Historians Automotive History Review, for a selection of postwar
American MG advertisements; to Bernie Weis of the Pierce-Arrow Society for information about the 1935
Pierce-Arrow advertisement seen on page C2 of the color plates; to Paul Veysey for the 1927 Dodge and
1938 Hudson advertisements on page 61, and for the 1935 Ford V-8 on page C3 of the color plates; and to
Mrs. Joan Coombs for a number of the earliest advertisements illustrated in this book. I am also grateful to Pamela Blore for a social historians view of the portrayal of women in early advertising.
The generous support and encouragement of all of the American automobile manufacturers is appreciated, particularly from Ed Lechtzin, Public Relations Director at Pontiac Division of General Motors;
and Public Relations Co-ordinator Alan E. Miller of Chrysler Plymouth, for comprehensive information
on their respective companies products of the early 1990s.
Finally, may I thank my old friend Jeremy Kendall for hospitality and entertainment in Bury St.
Edmunds, Suffolk during the preparation of the manuscript; and my good friends and fellow-students
Clare McCourt, Matthew Shiels, David Higgs, and Jasper Denning for their support and encouragement,
even when their house was temporarily overtaken by a sea of automotive literature, and for helping to
choose many of the advertisements illustrated in this book.
vii
Contents
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Igniting Desire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Fantasy by Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Theres Added Joy in Added Cylinders . . . . . . . . . . . . . . . . . . . . . . . . . 58
Pushbuttons and Plastic Tops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
C ONTENTS
17. Back to Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
18. Fantasy Under Siege. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Overview and Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Collectors Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Preface
Somewhere west of Laramie theres a bronco-busting, steer-roping girl who knows what Im talking about. She can
tell what a sassy pony, thats a cross between greased lightning and the place where it hits, can do with eleven hundred pounds of steel and action when hes going high, wide and handsome. The truth is the Playboy was built for
her. Built for the lass whose face is brown with the sun when the day is done of revel and romp and race. She loves
the cross of the wild and the tame. Theres a savor of links about that car of laughter and lilt and light a hint
of old loves and saddle and squirt. Its a brawny thing yet a graceful thing for the sweep o the Avenue. Step
into the Playboy when the hour grows dull with things gone dead and stale. Then start for the land of real living
with the spirit of the lass who rides, lean and rangy, into the red horizon of a Wyoming twilight.
Jordan advertisement from the Saturday Evening Post, June 23, 1923
The aspirations of an era are captured vividly in its advertising, which is the focus of a multitude of human concerns and ambitions. At its best, advertising displays the nest
fruits of engineering and the graphic arts. By their nature
ephemeral, advertisements are compelling freeze-frames of
the times that give them meaning.
The automobile, for its part, as a provider of freedom
and symbol of affluence, and as a projection of its owners
world-view, has enjoyed a uniquely wide-ranging influence
on American life. This is particularly apparent in the advertising of the modern period in the history of the American automobile, beginning with the entrenchment of the Big Three
in the early 1930s, and concluding with the fuel crisis of the
1970s and the establishment of the Japanese automobile in
America.
Individual automobile advertisements are interesting in
their own right, and for what they reveal about the products
that they attempted to sell. Particular campaigns stand out
from the contemporary norm, and are memorable for their
imagination and impact such as J. Stirling Getchells Look
At All Three series for Plymouth in the 1930s, and J. Walter
Thompsons Ford in Your Future campaign of 194547.
David Ogilvys advertisements for Rolls-Royce (195862) and
Doyle Dane Bernbachs long-running, iconoclastic assault
upon conventional automotive values with the Volkswagen
P REFACE
ing apart) of escapism; the 1950s of fantasy; the 1960s of realism; and that the 1970s brought a fragmentation of approaches
along class and size-category lines. There are, however, so
many exceptions to this glib summary that it has only limited
use as a temporary scaffold around which to build a more
complete picture of the subject.
This book therefore follows a thematic rather than strictly
chronological structure, tracing the development of the principal elements in American automobile advertising over fty
years. Advances in advertising layouts and graphics are discussed in Part One, together with the ways in which automobile styling, mechanical improvements, and convenience features were portrayed and highlighted in copy over the years.
Part Two explores the advertising themes which were concerned less with the attributes of the cars themselves, but
rather with the ways in which advertisers hoped that consumers would perceive and identify with their products. The
practical aspects of automobile ownership are addressed in
Part Three, which concludes with an account of the advance
of imported cars into America after World War II. The Overview and Conclusion includes a discussion of advertising
themes revisited and developed since 1980. Snapshots are taken
of representative campaigns from the recessionary year of
1993, and from 2005-2006.
Choosing illustrations for this book has been an enjoyable
but difcult task. As it is not possible to illustrate every campaign launched over fty years, the advertisements selected
have been chosen to be representative of their types, and to illustrate the themes of the text. The majority of the advertisements in this book have been taken from the unusually wide
selection published in the National Geographic, whose clear
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Chapter 1
Igniting Desire
accurate photography superseded impressionistic artwork.
In the beginning, it was argued, the consumer was duped by
advertisers fanciful rendering of their products, but later rose
up against the artists who were the cause of his confusion, and
demanded realism instead.
This analysis appears supercially convincing. Its advocates need only produce an impressionistic rendering of a
Chrysler or Lincoln, circa 1930, juxtapose it with a resolutely
realistic portrait of a Chrysler or Lincoln, circa 1970, and point
triumphantly to this supposedly irrefutable evidence of
progress. This myth sustains a belief in progress itself, and
may be attractive to the tastes of professional nostalgists, but
it is not the whole story, not least because no advertisement can
be wholly realistic about its subject, and no portrait is impartial. The strictest impartiality might be said to consist not in
the identication of a single, true perspective to the disdain
of all others, but in the practical and perhaps conceptual absurdity of an unmediated presentation of all possible perspectives simultaneously.
It has been claimed that the inception of color photography in automobile advertising from around 1932 removed the
interpretative artistic middleman who had hitherto stood between the reader and the product; but, in reality, the artist,
including the deceitful elongator, continued to work alongside the photographer until after 1970. And the imaginative
photography that captured the high, wide and heavenly view
enjoyed by Ford Thunderbird buyers in 1969, for example,
was vastly more sophisticated than the simple, faux-color photograph which had been considered adequate for British buyers of the Model A in 1931. Moreover, the impressionism which
was once the preserve of the illustrator was increasingly
achieved not only by the artist and photographer, but by the
copywriter as well.
Photographers and artists sometimes worked simultane-
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1. I GNITING D ESIRE
The elongator versus artist-as-realist. Backgrounds in both cases were realistic, but Oldsmobiles fun-oriented illustration was
more typical of its period than Plymouths sober practicality (November 1938 and March 1939).
Ashley [Havinden, the agencys advertising artist and, from
1929, art director] argued that an ordinary half-tone photograph in black and white would scarcely make the [Chrysler]
look different from any other make. In other words, it was
impossible to convey glamour by reproduction methods.
Therefore he devised impressionistic drawings of a car being
driven at high speed, plus a free dynamic layout, plus exciting and exclamatory headlines. So striking were these advertisements that ... people in England were shortly [afterwards]
talking about Rolls Royces, Chryslers and Bentleys.... [T]his
advertising style was ... to prove additionally valuable in the
difcult circumstances of European reproduction.... [T]he few
black and white lines embodied in the drawings survived even
the abominable paper and printing characteristics of most of
the foreign newspapers. [And] the arresting and almost childishly-simple presentation was equally effective in countries
ranging from the Baltic to the Balkans.... It sold exhilaration
associated with the name of Chrysler internationally.2
The artistic elongator sought the best of both worlds, reinstating accurate detail, but retaining the necessary dynamism through modied proportion. Only rarely could an
P ART O NE : F UELING
with a large luggage compartment. The cars shape was familiar to Ford buyers, and there was a real danger that devotees
of the parent marque would mistake the Mercury 8 for an optimistically drawn Tudor sedan. British monochrome illustrations of the smaller Ford V-8 suggested that it was as long
as a Lincoln-Zephyr, which was far from the case.
In America, realism was achieved more often with monochrome photography than with the color illustrations suitable
for glamour pieces. Buick published many such realistic advertisements in the late 1930s, displaying more flair and imagination, within the constraints of the chosen medium, than
Plymouth. The views chosen were not always those that would
be natural to the car buyer. A particular favorite was the ground-level shot, taken with
a wide-angle lens, with buildings receding
dramatically into the background. The effect
was of dominance, length, and mastery of
the modern world which was the Buicks natural environment. It was anything but realistic, yet conviction was achieved by the accurate rendition of detail which was possible
with the camera. By colluding with the copywriter, both artist and photographer co-operated in the creation of an automotive fantasy for the moment, igniting the consumers
desire for a product laden with personal and
social potentialities.
It was argued by many that the adoption of photography as an illustrative medium had banished fantasism forever. Harold Costain, a British commentator, wrote
in 1935:
F ANTASY
We have become purists in that the subject is photographed faithfully with the
idea of appealing to the intelligence of the
buyer rather than to his imagination or
emotions, whether his need is for apples,
shoes or automobiles.3
This was not always the case, as a cursory look at 1939s artwork for the Oldsmobile 60, among others, conrms. Costain
continued:
Chryslers dynamic impressionism entered its mature phase in the middle of the
Depression. Copy styles and typefaces were suitably artistic or pretentious
(1931 campaign).
1. I GNITING D ESIRE
Nashs angled block layout was a masterpiece of ingenuity. No other manufacturer combined a multitude of illustrations with
more than a dozen typefaces to such elegant effect (June 1939).
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Contrast of styles. Mercury combined realistic illustration with factual copy in 1939, while Fords British advertising for the 1937
V-8 30 was sometimes cluttered. The angled block headline derived from an earlier, more exuberant idiom, and tted badly
with the portentous copy and hum-drum, if elongated, picture (April 1937 and March 1939).
A theory of new-found public wisdom presupposed an earlier stupidity, and on neither count was this early form of the
progressivist myth wholly supported by the reality.
Nevertheless, as motoring became ever more popular and
widely accessible, advertisers had to cater to a wider audience:
wider in outlook, in aspiration, in geographical extent. The Depression, and the popularization of the automobile, signaled
an end to Bauhaus-pastiche and other instances of what has
been called
...an epidemic of freak advertising, masquerading under the
banner of the progressively modern movement, which has
brought no commensurate results to any but its perpetrators.5
vaded upmarket automobile advertising. Most car advertisements of the period were simple and functional, like the cars
that they depicted. Copy for the Model T Ford was consistently down-to-earth, and even deliberately stylized renderings of the Model A, Model B, and V-8 which followed in the
1930s were comparatively innocuous.
Esoteric artistic motifs were criticized as much for their
implicit elitism on the basis that the majority of the public
did not understand and therefore would supposedly not like
them as for any failure to sell upmarket cars. Their advocates,
commercially rather than socially motivated, wondered
whether it mattered that those who would not buy Chrysler
Imperials disliked or were mystied by copy for such cars. Did
the critical, self-appointed, guardians of public taste within
the advertising industry forget that it was as patronizing to try
to protect the public from artistic excess as to inflict pretension on it in the rst place? And were those critics secretly
dismayed to see art purloined by avowedly commercial interests, notwithstanding that the Bauhaus was a school of the
machine age, which sought to integrate art and three-dimensional design?
Advertisers delightedly foisted asymmetrical layouts and
1. I GNITING D ESIRE
Realistic photography was not conned to utilitarians. In 1938, Buick evoked an earlier neo-classical style, long favored by upmarket advertisers (March 1938).
10
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1. I GNITING D ESIRE
11
A distanced backdrop for the stylish Lincoln-Zephyr coupe. Care was taken not to submerge this middle-class car within a
socially constricted visual environment (March 1937).
12
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This Plymouth advertisement was typical of the catalogs in miniature that enjoyed a brief vogue among low and lower-middle
priced marques in the 1930s (November 1937).
1. I GNITING D ESIRE
13
14
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Modest and realistic photography, used in much Studebaker advertising since the mid1930s, continued into the late 1940s, reflecting the clean-lined modernity of the car itself. This is a top-line Commander Land Cruiser (September 1948).
1. I GNITING D ESIRE
consequences for layout and illustration. The exigencies of
depression led manufacturers to put as much information as
possible in every advertisement, and the catalog in miniature
enjoyed a brief vogue.
The best-known exponents of this genre were the lowand middle-priced marques in the Chrysler Corporation lineup, with Plymouth leading the way. A typical advertisement
for the 1938 models used six typefaces and ve captioned photographs, while in 1939s copy ten typefaces, augmented by a
large photograph and one or two auxiliary pseudo-technical
diagrams illustrating gearshifts and suspension assemblies,
were the norm. Plymouths backdrops were visually realistic,
but unadventurous in content, showing unglamorous but
comfortable vignettes of small-town American life in both
photographs and paintings. In several 1939 advertisements
the car was shown in sober, dark colors and, for added realism, even the cars chromium was dull, suggesting a hard-used
car which had not been washed for weeks.
Thus not only were the cars themselves shown authentically; they were seen in plausible surroundings and as worthy
accessories to real life, rather than life-as-aspired-to. This visual style complemented the themes explored in copy, which
centered around durability, value for money, and testimonials from contented users. The Plymouth was portrayed as a
good, working car rather than as an expression of a desirable
lifestyle, and, in this marketing context, the layouts chosen
were sensible, rather than inept. It was questionable, however,
whether the use of similar visual themes with more exciting,
aspirational copy in Dodge and De Soto advertising was
equally effective, as, whatever the advantages of continuity
within the Corporations range in reassuring buyers who could
afford to trade up from Plymouth, mere mechanical competence
was not enough for middle-market aspirants.
Small diagrams were not conned to the Chrysler Corporation, however, and they worked effectively in large-format
advertisements published in Sunday newspapers. In January,
1938, Ford showed a DeLuxe coupe in one such piece, surrounding the main illustration with eighteen drawings of features included in the Ford price of $689. These ranged from
a lockable glove compartment to an attractive, dependable
clock. An appearance of clutter was avoided by the sheer size
of the advertisement 24 inches by 16 inches and Ford
wisely eschewed the diagram idiom in smaller magazine advertisements.
Mercury also favored miniature auxiliary diagrams. A
late 1938 advertisement for 1939s two-door sedan used one
to show the trunk capacity of the car, while another in the
same series depicted the stylish dashboard and steering wheel
of the convertible. It was recognized that one extra illustration was enough, even when color was used, in cases where
only a small magazine page was available. The Ford Motor
Companys agency, N.W. Ayer & Son, did not usually attempt
to cram visually complex copy or illustrations into media ill-
15
16
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Above and opposite: Evolution of a genre. Cadillac advertising retained a distinctive flavor throughout the 1950s, reinforcing its
marque identity (1952 campaign, April 1955, May 1958, and 1959 campaign).
rows of auxiliary diagrams, ever more frequently in color, persisted. Studebakers announcement copy of the late 1940s was
modest and well laid out, but when the new Loewy range had
become established, miniature photographs of seat cushions,
brakes, and other mundanities appeared, together with sentimental portraits of Studebakers father-and-son production
line teams to suggest quality control, the personal touch, and
a humane (and therefore enterprisingly American at its best)
working environment in one go. The latter contrasted starkly
with the increasingly public turmoil at Ford, and with industrial relations problems throughout the industry.8 In another
contrast, impressionistic and colorful watercolor illustrations
appeared in Frazers distinctive, upmarket advertising for 1949.
In the 1950s, advertising followed style. When a car
looked dowdy, it was promoted as a provider of fun and economical transportation; it was the means to a desirable end. If
an automobile was stylish and avant-garde, copy and illustration highlighted design features. Cadillac, in particular, consolidated its marque identity not only with a visible evolution
in design, but with illustrations and layouts which, though
1. I GNITING D ESIRE
17
18
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Above and opposite: Chevrolets layouts reflected its advertising themes, ranging from practical virtue in 1952 through performance in 1955 to styling in 1959 (September 1952, 1955 campaign, and December 1958).
1. I GNITING D ESIRE
A change of image in 1955 led to more dynamic and condent advertising for Chevrolet. The new car, with a V-8 engine, was shown on freeways and at fashionable resorts. While
1953s Bel Air convertible had been illustrated on a beach,
driven by two mature ladies, the 1955 convertible was shown
at a sports-car club meeting, admired by enthusiasts thirty
years younger. If a 1954 sedan looked good at an airport, the
1955 model looked even better with a ghter plane. For 1956,
layouts were similar, as were preferred pictorial settings, which
reinforced Chevrolets newly vigorous image. Paintings continued to be used except for a photographic series placed in female-oriented publications. A year later, the message was the
same, albeit with plenty of new features in the car itself.
Chevrolets second major change of the decade came in
1958, when a decision by all manufacturers to de-emphasize
performance in advertising resulted in greater stress being
placed on effortless cruising and comfort. The steep hills and
fast freeways of 1957 gave way to flat country roads, and admiring neighbors replaced envious ghter pilots. Many illustrations showed only the car itself, perhaps with a few admirers scattered about, in preference to a complete tableau.
The 1959 Chevrolet was much larger and plusher than
the 195557 models, and was instantly recognizable by its dra-
19
matic bat-wing ns. The artistic elongators skill was employed to the full, particularly with the Impala Sport Coupe.
Later in the model year photographers took over and sedans,
sports sedans, and station wagons were shown in larger illustrations than had been adequate in the early 1950s. During
1959 and 1960 there were more photographs than paintings
(the reverse having been true in 1958), and although paintings featured in range advertising for full-size models and Corvairs in 1961, those range pieces were modest and sober. The
overall effect was of greater realism, bringing the product
closer to the consumer. To some extent, the role of the fantasist was adopted as much by the copywriter as by the illustrator, and this development represented a natural progression
from the increasingly integrated presentations of 195557. Settings were traditional Chevrolet leisure venues: lakes, country
parks, rural stores, and suburban homes.
The progress of Cadillac and Chevrolet advertising
typied the principal developments in layout and illustration
during the 1950s, and other marques followed similar paths.
Mercury made extensive use of color photography in 1954; it
was particularly effective with metallic paint, and added clarity to the myriad smaller illustrations which demonstrated the
cars new handling and power features. It was not unusual for
a single advertisement to use ve or six photographs including, inevitably, poses alongside modern aircraft. Surprisingly,
not all of the aircraft were jets.
Oldsmobile was the best-known exponent of aeronautical imagery, showing stylized rockets in abundance in the early
1950s. Nash preferred rural panoramas for its main illustrations
during 1953, but their impact was diminished by an insistent
retention of 1939-style diagrams, albeit without 1939s angled block effect. The photographer took over in 1954, and
achieved eye-catching results with 1956s three-tone color
schemes.
Chrysler tried a watered-down version of Cadillacs approach in 1954, showing couples in evening dress to suggest sophistication. In one piece, a metallic red and white New Yorker
was seen from above on what might have been brick-red gravel
outside a house, but which looked like a pink carpet surrounded by indoor plants. The cars owner seemed much more
interested in his partner than in the car, and even the unusual
angle of the photograph could do little for an outmoded shape.
In 1955, the male owner disappeared, and his partner became
a fashionable model while the car itself, modern and more dynamic than its predecessors, was shown in studio poses which
suggested romantic summer evenings. Chrysler suffered from
the lack of a stable image nurtured carefully over the long term
and, in this respect, Cadillac reigned supreme. Lincoln, whose
photographic illustrations were well composed but who had
no overall theme for 1955, suffered similarly.
Dullest of all in 1955 was Pontiac, whose lack of direction, not to mention dynamism, was painfully obvious. While
many middle-market advertisers had adopted photography
20
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Multiple illustrations were popular until the mid1950s. Photographers were beginning to take over from artists by 1954 (April
1954).
1. I GNITING D ESIRE
21
Lincolns 1955 advertising was condent and eye-catching, but otherwise lacked a consistent theme. This layout, with photograph,
headline, and body copy clearly segregated, would become more common in the 1960s (May 1955).
22
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The car with a Built-in Future was advertised in a style of twenty years past. This layout and style of illustration were carried
through a series of similar pieces, all lacking impact and conviction when compared with the 1955 norm (May 1955).
1. I GNITING D ESIRE
23
Ford used distinctive, atmospheric photography to promote the Thunderbird from 1959 onwards (May 1959 and January 1964).
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1. I GNITING D ESIRE
25
Opposite and above: Typical Cadillac advertisements of the early 1960s. For 1963, the marque adopted the kind of photographic
realism that predominated elsewhere (February 1960, May 1961, and November 1962).
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Pontiacs 1960 campaign combined upmarket elegance with Thunderbird atmosphere. The cars width, rather than its length, was
exaggerated (February 1960).
1. I GNITING D ESIRE
27
Buicks art nouveau series of 1967 recalled upmarket advertising of fty years earlier (October 1966).
28
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Dark backgrounds were popular in sporty-car advertising during the 1970s. This piece combines the prevailing idiom with
upmarket neo-minimalism from an earlier period (January
1976).
Chapter 2
Fantasy by Design
You turned your Head. Of course you did when you rst saw one of these beautifully, scientically stream-lined
Chrysler Airflows. For this is real beauty the beauty of true functional design.
Lets speak of value beneath the style. Asked to name the one car responsible for todays handsome designs, most
people would say Lincoln-Zephyr.... The influence of this car has been great.... From the beginning, the LincolnZephyr has pioneered. The rst forward-looking feature that set the car apart was the unit-body-and-frame.... The
results are efcient, economical operation.... Why not enjoy a car modern in all its ways?
The rst of these cars was a Chrysler Airflow, as promoted to British motorists in advertising with an American flavor in 1935; the second was a 1939 Lincoln-Zephyr. The Airflow was a sales disaster with only around 29,500 Chrysler and
25,700 De Soto Airflows sold over four seasons, but the
Zephyr, though inherently a more specialized car, was a successful product whose styling was widely copied. Both were
sold on the strength of streamlined design; the difference lay
in the marketing approaches used. The Airflow was designed
to be streamlined, and declared to be attractive simply because it was aerodynamically more efcient than the opposition. The Zephyr was intended to be both streamlined and attractive. Although it proved to be even more efcient
aerodynamically than the Airflow, its designer, Eugene Gregorie, developing earlier and more radical ideas by John
Tjaarda, realized that any scientic advance had to be made
palatable to the consumer.
The need for compromise was widely realized by industrial designers of the period. In 1934, Herbert Read put the
point concisely:
In an automotive context, the compromise was not between any xed idea of aesthetic quality and an immutable
notion of function. Streamlining was ostensibly adopted to
reduce wind resistance in the name of efciency, but it also
gave a new design a dramatically modern look that allowed
the consumer to feel that he was participating in progress. Automobile design reflected a broader trend. As one later critic
remarked:
The curvilinear forms or streamlining that came to the fore
in the 1930s had European roots, but in America were extended in application to all manner of design....15
Even pencil sharpeners and refrigerators, which remained immobile all their lives, adopted streamlined forms. This general movement was seen, and promoted, as the outward sign
of technological and, by extension, social advancement. Perhaps more than any other artifact of its time, the streamlined
automobile vitalized and nurtured the consumers sense of
the wider progress by being the object with which he engaged
most closely. The automobile was meaningless without motion,
direction, without intimate involvement with the consumer.
In this, it was unique.
Against such a background, it was not surprising that
successful individual examples of streamlined design were not
always aerodynamically efcient. Provided that a design was
symbolically efcient to the consumer, it did not need to be
empirically efcient. Whatever the legitimate preoccupations
of Chryslers aerodynamicists, an automobile had to conform
One false theory [of design] assumes that if [an] object ... performs its function in the most efcient way possible, it will
ipso facto possess the necessary aesthetic qualities. To this argument we must reply that an object which functions perfectly may, and probably will, possess aesthetic qualities, but
that the connection is not a necessary one.14
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Chrysler hoped that the readers heart would follow his head, while Lincoln assured him that his head could safely follow where
his heart already wanted to go. The Lincoln was more attractive, shrewdly advertised and successful (May 1934, and 1939 campaign).
Most car buyers, however, were not prepared to pay for this
aesthetic reorientation, and advertisers enthusiasm for scientically streamlined design was not enough to persuade
2. F ANTASY
BY
D ESIGN
31
Home market copy perused a similar theme in a Saturday Evening Post advertisement of November 9, 1935:
The car that was some day to come is here!... The moment
you see the new Hupmobile, you will know that its the car
you have wanted and waited for. You will see its smoothlymoulded, stream-line beauty. Here is nothing bizarre or
freakish. Instead, a harmony, symmetry and grace which
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Chevrolet to Cadillac, with any number of Buicks, Oldsmobiles, Pontiacs, and LaSalles in between.
Fisher Body advertisements were invariably eye-catching, and close-up color photographs were frequently employed from 1934 onwards. In March, 1937, a bright yellow
Pontiac Eight sedan was shown on a vast, part-completed iron
bridge, its owner admiring the architectural colossus that was
taking shape above him. The body frame of the most beautiful thing on wheels was illustrated in a small diagram at the
foot of the page, its complex construction of steel panels and
girders visibly reminiscent of the bridge. Security gets a lift!
said the headline, Its nice to know that youre riding surrounded by steel.... Like other Fisher Body advertisements
in the series, the piece combined emotive and stylish photography with a functional, yet dynamic, theme.
The Lincoln-Zephyr was specically intended and acknowledged as one of the most futuristically styled cars on
the road at the time of its launch in November, 1935, and copy
for the car was more overtly futuristic than Fishers, particular during the Zephyrs early years. In May, 1937, a blue twodoor sedan was shown under a concrete bridge, with the famous Burlington Zephyr streamlined train speeding over the
track above. The car and train were described as:
... the newest things on wheels.... One is a streamlined train,
rolling up new records on the rails. One is a motor car ...
rolling up new records on the roads. Common to both is a
break with the past ... a new point-of-view towards travel.
2. F ANTASY
BY
D ESIGN
33
34
P ART O NE : F UELING
F ANTASY
2. F ANTASY
evoked nothing, while nevertheless being self-consciously stylized. The radiator grille, lacking elegance, also lacked aeronautical connotations.
Measured against functional parameters, the Edsel was
no more peculiar than many of its contemporaries, but, unlike them, it stated no allegiance to a wider American aspiration. By aping the anti-functional form of contemporary automobile design, while visibly remaining removed from what
the consumer saw as its underlying raison dtre, it was a parody, and as such was rejected by car buyers. In one New Yorker
cartoon, a woman looked up from her newspaper and remarked happily to a less than cheerful-looking husband: My,
its a big week for everybody! The Russians have the Intercontinental Ballistic Missile, and we have the Edsel. The psychological point was sharply made. Only 110,847 Edsels were sold
between September, 1957 and November, 1959, and the car
reputedly lost its makers $250 million.
An elaborate, noisy, and protracted sales and advertising
effort did little for the cars fortunes, and was toned down
when it became apparent that sales would not pick up. Most
surprising of all, however, was that the car, hyped up in the
summer of 1957 in a series of taster ads and heavily promoted after launch, was not advertised at rst as a 1958 model.
As all involved licked their wounds, other advertisers watched
the affair with close interest, and were content to fuel the established fantasy. Within that context, new styling features
were introduced that were far removed from utility, yet they
seemed demonstrably effective in capturing public taste.20
The Edsel affair proved effective in demonstrating that no
amount of ingenuity on the part of copywriters could rescue
an unpopular design. It was a lesson that would not readily be
forgotten.
A few cars of the early postwar period appealed to the
public while also retaining a substantial element of European functionalism. One of these was the 1947 Studebaker,
introduced in the spring of 1946. Early advertisements were
triumphant: First by far with a post-war car! ran the introductory slogan. Your dream car is hereand in production!
continued the copy in July 1946. The full-width styling of the
Commander Regal De Luxe 5-Passenger Coupe was simple
and clean, and was illustrated with an actual color photograph to dispel any doubts that might have lingered if paintings had been used.
In August of the same year, a Champion Regal De Luxe
four-door sedan was hailed as:
Sweet and low ... a melody in metal.... That picture of it you
see above is a color photograph of the real thing the new
1947 Studebaker in person.... Heres more than a car out
ahead in point of time its unmistakably far ahead in distinctive post-war styling completely new from every view.
The color photograph of a pastel green car had been lightly airbrushed to give added sleekness, but the Champions compact
BY
D ESIGN
35
36
P ART O NE : F UELING
F ANTASY
Advertising for the rst generation of postwar Loewy Studebakers capitalized on the cars role as an international style leader
(July 1946 and February 1948).
to transport one or two people just does not make sense. Statistics show that ninety-two per cent of the cars on the highways travel with empty rear seats. The weight trend in the
past years, I believe, has been decidedly retrogressive. This
must change.21
Yet although in later years Loewy was proved right, a successful design studio does not achieve renown in its own time
by designing what ought to be made if the public does not
want it. Whatever rationale might, with hindsight, be imputed
to the design, it was the cars appearance which gathered sales
of over 160,000 in the extended 1947 model year, at least
184,000 in 1948 and approximately 129,000 in 1949. Studebakers copywriters were well aware of the effect that even a
cursory glimpse of the new model had on automobile enthusiasts. In 1990, Bruno Sacco, Director of Design for passenger
2. F ANTASY
cars at Mercedes-Benz, recalled seeing a 1950 Regal De Luxe
Starlight Coupe in Italy:
It was the year 1951, late spring in Tarvisio, in the Italian
Alps. I was cycling along the main street of the town.... Suddenly I became aware of a car coming the other way. I think
it was electric blue it was certainly something out of the ordinary. I realized in that moment of encounter that I had
seen something that put everything else in the shade. I
stopped, looked back, and got another surprise: the rear
view of this vehicle was also different from anything I had
seen before....23
The design was a unique amalgam of European functionalism and that quintessentially American obsession with the
technically superfluous, but visually dramatic, design feature.
It was not necessary, for adequate visibility, to use such a dramatic rear window, yet it was this feature above all others that
captured the public imagination. Like Harley Earls Cadillac tail
n of 1948, it was an aesthetic reinterpretation of utilitarian aircraft design in this case, a canopy. The genuine functionalism of lightweight body design was combined with the quasifunctionalism of the aeronautical motif, while at the same time
a lack of added decoration gave the car an international feel,
with an element of Eurochic on which copywriters, explicitly or implicitly, could capitalize.
Studebaker was among the few automobile manufacturers of the late 1940s that tried to break away from the herd by
claiming leadership in design, or by endeavoring to rise above
the need for annual restyling by questioning the presuppositions that lay behind it. Not all who attempted the break were
successful but, armed with a genuinely novel product with
practical and aesthetic advantages over the opposition, a copywriter could self-consciously jump off the bandwagon without being forced to rely on functionalist rhetoric alone, whose
limited effectiveness in mainstream automotive advertising
had been proven.
Unable to retool for substantial annual styling changes,
Studebaker was able to make a virtue out of necessity in the
late 1940s. A February, 1948 advertisement was clever:
All over America the word for style is Studebaker.... Time flies
faster than most of us realize. Its just a little more than eighteen months since you rst read the thrilling Studebaker announcement, Your postwar dream car is here and in production. Now the 1948 version of that dream car has arrived....
Theyre more than fresh 1948 interpretations of the new
look in cars thats a Studebaker style mark. Theyre the dramatic encore....
BY
D ESIGN
37
The car was updated in 1950. All eyes are on this next
look in cars, crowed one advertisement for the Land Cruiser
sedan. You get thrift plus luxury in this new Studebaker!
said another headline, the thrift because theres no bulging excess bulk to over-burden a Land Cruisers trim, sleek structure. Claims that it was dynamically new in form and substance were untrue, but with restyled rear fenders and a new
spinner-nosed front, it was undoubtedly different.
By the time that the 1950 model was conceived, Robert
Bourke was working for Loewy, and his version was chosen
by Studebakers management over an independent proposal
from Virgil Exner, who subsequently left Studebaker to work
for Chrysler. In 1981, Bourke recalled:
We were impressed with ghter aircraft and wanted to
impart some of that flavor to the Studebaker. It was basically
the old 1947 body, but the new nose really set Studebaker
apart.24
The car proved to be something of a false dawn for Studebakers fortunes, and it did not herald a signicant adoption
of European styling in America; rather, American stylists
occasionally appended European-seeming design features
to an indigenous idiom. Even the 195254 Nash, styled in
the continental manner by Pinin Farina according to a 1953
advertisement, remained, as eventually produced, essentially
a Nash design which incorporated some exterior and interior
touches from a Pinin Farina proposal. Yet the Italian designers
name made it more saleable. Nash presents for 1954 New
Continental Dream Cars by Pinin Farina announced the
38
P ART O NE : F UELING
F ANTASY
Aeronautical design motifs were commonplace by 1950, but Studebakers spinner nose was not followed elsewhere (November
1949).
2. F ANTASY
BY
D ESIGN
39
If you must do something different, you are apt to do something bad, something bizarre. That is why car design has
grown so extreme in this country.25
40
P ART O NE : F UELING
F ANTASY
2. F ANTASY
individual styling feature was a way of distinguishing one
years model from the next, and it also dened a cars status
in the corporate hierarchy. By stimulating the consumers curiosity and desire, advertisers kept this multi-faceted juggernaut intact and in motion. [I]t is not too much to say, said
Alfred Sloan in 1963, that the laws of the Paris dressmakers
have come to be a factor in the automobile industry and
woe to the company which ignores them.28 But many of the
smaller manufacturers could not afford to obey those laws, to
their ultimate cost.
The major car producers divided their advertising into
three layers. Underpinning the whole marketing apparatus
were the corporate images, reinforced and developed by corporate advertising, which often referred to diesel engines and
Frigidaire refrigerators (GM), aircraft (Ford) and other products not directly related to automobiles. In the automotive
sphere, marque advertising predominated, promoting the
products of one marque year by year. Announcement copy
sometimes concentrated on a single, prestigious model, but
the bulk of such advertisements promoted a whole marque
range while illustrating and describing one or two models of
special interest. Modern specialty advertising arrived in the
1950s with the 1953 Chevrolet Corvette, 1954 Kaiser-Darrin 161,
and 1955 Ford Thunderbird, and it became an important component of every manufacturers strategy when the new car
market fragmented into size and specialty sectors in the 1960s.
By 1965, as many advertisements were published for individual models as for a years model range as a whole.
Styling was important at all levels. In 195253, Chrysler
ran a series of corporate advertisements by N.W. Ayer & Son
that concentrated on various features and design priorities
that were common to all of the Corporations products, from
the lowliest Plymouth to the prestige Chrysler Imperial.
Uniquely among the Big Three, Chryslers corporate advertising of the early 1950s promoted style as a facet of functional
engineering. In this case, the designs that resulted were conservative rather than radical in appearance, but the strategy, at
odds with consumer preoccupations of the time, suggested
that Chrysler had failed to understand the wider lessons of the
Airflows failure. It did not matter whether the product was
radically streamlined or, as in this case, unusually conservative. Once again empirical functionalism, albeit with a different emphasis, was allowed to detract from the cars public acceptability.
Whats the beauty secret of Chrysler-built cars? asked
one unassuming monochrome advertisement in 1952. A car
need not be four wheels, a body and an engine lumped into any
shape that designers please. It can be a graceful mechanism, the
form of which is chiefly determined by function. The essay
continued:
A plain example is the beautiful flowing lines of the roof on a
Chrysler-built car. Chrysler engineers and designers consider
the passengers needs the space for sitting, the depth of
BY
D ESIGN
41
The emphatic and hinted at past battles. Until 1955, Chryslers copywriters had to make the most of outdated production
designs. The 1949 New Yorker, for example, was billed as The
Beautiful Chrysler Silver Anniversary Model ... created with
common sense and imagination in engineering. But even in
advertisements, it was not easily distinguished from an artistically elongated Plymouth, especially as both were shown in
the same dark blue. A year later, beautiful new things were
42
P ART O NE : F UELING
F ANTASY
Above and opposite: Sober, intellectual copy from N.W. Ayer & Son promoted Chryslers corporate priorities in 1952-53. Several
advertisements in this series appeared in the Scientic American, which did not normally carry automobile advertising in the early
1950s (September and December 1952).
2. F ANTASY
BY
D ESIGN
43
44
P ART O NE : F UELING
F ANTASY
The proportions, if not the styling details, of the 1949 Chrysler were old-fashioned even when the car was announced, and little
apart from the rear fenders changed in 1950, although the artists did their best (June 1949 and March 1950).
2. F ANTASY
BY
D ESIGN
Colorful advertising reflected a change in Chryslers priorities for 1955, and sales improved (December 1954).
45
46
P ART O NE : F UELING
F ANTASY
In 1957, the Chrysler Corporation took the stylistic lead, and De Soto had one of the best interpretations of the new idiom (May
1957).
2. F ANTASY
car by suggesting that it was the modern equivalent of a good
horse:
Choose any car in the De Soto corral, and, pardner, youve
got yourself a thoroughbred. From hooded headlamps to upswept tail fins, De Soto Flight Sweep styling is the new shape
of motion.
BY
D ESIGN
47
All for a few chromium strips on the radiator grille and hood.
The theme lasted, along with a Chief hood ornament, until
after World War II. The 1950 Pontiac was the only car in the
world with Silver Streak styling as well as almost the only car
in the world that was still promoted on the strength of a prewar styling gimmick. It gave rise to a postwar British imitator (the Austin A90 Atlantic) and the streaks continued to appear on Pontiac hoods as late as 1956, when, according to one
advertisement for a pink and grey 860 series hardtop, A glance
at the fresh, new beauty of its twin-streak styling tells you this
is easily the most distinctive car on the road.
But it was not distinctive by 1956, and a measure of real
individuality would return only for 1959, with the advent of
the Wide-Track Wheels which distinguished large Pontiacs
throughout the 1960s.
48
P ART O NE : F UELING
mendacious, yet the copy went on to point out that the car
had brought hardtop glamour to motorists at standard sedan
and coupe prices. No one was fooled; the illustration showed
a Hornet in bright yellow with a brown roof, 1948s thick door
and window pillars intact.
Chevrolet, The Only Fine Car Priced So Low, was
spared Hudsons traumatic decline. The 1952 Bel Air hardtop
was modestly described as Smarter looking ... smoother-running ... softer riding .... and it, rather than Hudson, pointed
the way forward. The 1953 version lacked the earlier cars elegance, however, even if it was a little more modern-looking
than its predecessor. One painting of the almost identical 1954
Chevrolet made The Brilliant New Two-Ten 4-Door Sedan
look boxy and crude compared with earlier incarnations, and
did not do its subject justice.
Chevrolets advertising of 195354 emphasized power increases and value for money, but styling was mentioned from
time to time. Why Chevrolets eye-catching good looks wear so
well and last so long sounded in 1953 like an earnest prelude
F ANTASY
Longer, lower, and wider: Harley Earls priorities were vividly demonstrated by the change in Chevrolets styling in 1955 (1953
campaign and May 1955).
2. F ANTASY
1955 with Thunderbird styling which was visibly related,
particularly on the Fairlane Sunliner convertible, to that of
Fords prestige roadster. Several Ford advertisements showed
the two cars together, as in the Saturday Evening Post of July
16, 1955: Rarin to go.... Theres a touch of Thunderbird in
every Ford ... you can see it.... You can feel it! Not only does Ford
look like the Thunderbird, it behaves like it, too, with TriggerTorque performance! Chevrolet, with a Corvette that bore
no resemblance to the regular line, was unable to use any similar trick so convincingly.
In December 1956, Chevrolet could claim Chevy goes
em all one better for 57 with a daring new departure in design ... from its daring new grille and stylish lower bonnet to
the saucy new slant of its High-Fashion rear fenders. In other
words, ns and an integrated grille and bumper assembly had
arrived, and, as a facelift of the 195556 body, it worked well.
For 1958 there was just something about Chevys low, straining-at-the-bit beauty that makes people sit up and take notice.
1959s fresh and fashionable new styling included horizontal ns that looked especially dramatic on the otherwise unadorned Biscayne two-door sedan. Even GMs most popular
marque suffered the occasional year of uninspired styling, but
Chevrolets advertising always managed to highlight at least one
or two novelties every year.
Altogether more acute was the position of the independents, such as Frazer. Forced to rely on a body shape that had
been around since the 1947 model year, Frazer could only offer
a clever facelift in 1951. Promoted as a new handcrafted 1951
model, the revised design was not handcrafted in any sense,
even if it looked new when viewed from the front or rear. But
Kaiser-Frazers copywriters were not as literal-minded as
Chryslers, and gave competing fantasists a run for their
money:
The Frazer ... expresses completely all that the word custom
implies. It is without doubt the newest, most satisfying form
of individual transportation for you who enjoy the luxury of
the unusual....
BY
D ESIGN
49
50
P ART O NE : F UELING
F ANTASY
Above and opposite: The art of the facelift, as practiced by Lincoln. The 1957 style was inspired by the Futura dream car, subsequently better known as the Batmobile (April 1956 and March 1957).
2. F ANTASY
BY
D ESIGN
51
52
P ART O NE : F UELING
F ANTASY
The 1961 Lincoln Continental was a genuinely distinctive car, with styling that changed
only in detail between 1961 and 1965 (March 1961).
2. F ANTASY
BY
D ESIGN
53
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P ART O NE : F UELING
F ANTASY
Caught on the hop. Fins, chrome, and bulbous sides were on their way out by 1960, but Imperial was stuck with them for another
year (April 1960).
2. F ANTASY
BY
D ESIGN
55
Intended to recall the distinguished 1956 Continental Mark II, this 1968 model was less decisively individual than its forebear,
although the faux-classical grille set a trend (October 1968).
56
P ART O NE : F UELING
F ANTASY
Styling did not usually attract humorous copywriting unless the car was a Volkswagen, but in 1966 Chevrolet worked with a popular theme (May 1966).
2. F ANTASY
Imperials imitation of the previous year was only approximate, and it was heavier-looking. By 1968, the elegant Lincoln Continental Mark III, so-called in pointed disregard of
the unsuccessful and confusingly designated Continental Mark
III of 1958 and Lincoln Continentals Mark IV and Mark V of
195960, could be described in a single copy line, with some
credibility, as The most authoritatively styled, decisively individual motorcar of this generation.
The most convincing domestic case for rejecting the values of dynamic obsolescence was made by Chevrolet in 1971,
for a new subcompact that was overtly functionalist in conception from the outset. It was billed, echoing Volkswagen, as
Chevys new little car: if you like the 1971, youll like the 1975.
The advertisement was long and explanatory and featured a humorous drawing of a kind seen in muscle-car advertising
aimed at younger drivers during 196870. The Vega survived
by specically targeting a market that did not set great store by
dignity and substance or even style, provided that the car
was not gratuitously odd. It was a market which Chevrolet
wanted to claw back from the importers, both European and
Japanese, who were gaining ground. But in 1971, only a small
(if rapidly growing) proportion of the car-buying public subscribed to Vega values. The Caprice was still available, large as
life, for those who wanted (or, with large families, needed) a
car that, in the words of a 1971 headline, looks and rides like
twice the price.
For genuine non-conformists there remained the Checker
Marathon, best known as a Yellow Cab but also available in
civilian trim. In The Waste Makers (1960), Vance Packard
praised the Model A Ford and Frances Citron 2CV for their
designed-in durability, and added:
One of the happiest motorcar owners I know is a sales representative who must often travel fty thousand miles a year
and has long felt bedeviled by the high maintenance cost of
his cars.... Every time he went to New York, he made a point
of riding in Checker cabs and pumped the drivers on performance. He relates, They always gave it high praise for
durability, and seemed unanimous that it goes one hundred
thousand miles without a valve or ring job.... Several months
ago this man bought a Checker Superba and has become very
fond of it.29
BY
D ESIGN
57
Chapter 3
Americas automotive fantasy was fueled not only by dramatic styling, but also by equally dramatic power. In the 1930s,
power was intrinsically exciting and attractive for the effortless driving it allowed. By 1940, most American cars offered the
80100bhp needed to make motoring adequately painless and
rapid. By 1946, dynamic fantasy, structured around styling
and performance, began to take over from the escapism and
pastoral idylls which had been popular during 193942.
In 1938, Lincolns copywriters allied the excitement and
utility of the Zephyrs V-12 engine with that essential ingredient, status. A simple photograph of a Zephyr sedan was shown
against a neutral backdrop; the copy elaborated: Theres
added joy in added cylinders.... People who have never driven
a twelve-cylinder car may think of it, primarily, as capable of
high speed. The Lincoln-Zephyr is that, most certainly, but
the joy of driving it comes in many other ways. Always it has
power in reserve. In trafc, or on the open road, it goes gently.
The Zephyr was the only V-12 in the middle price eld
and was exciting enough for that reason, as well as for its conspicuously modern styling. The buyer was carefully persuaded
that his choice was not only agreeable, but rational: New
owners discover that familiar trips are made more quickly
but, that they drive less fast than before. Having picked up an
even pace, they maintain it, without pressure, without fatigue.
By playing down the obvious attractions of a stylish and
powerful automobile, Lincolns strategy anticipated Chryslers
understated copy of the early 1950s, but, unlike Chryslers,
Lincoln copy was appropriate for the automotive climate of its
time. American copy for the Zephyr was written almost in the
language of the independent, if favorable, road tester, and it
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3. T HERE S A DDED J OY
IN
A DDED C YLINDERS
59
Performance in its widest sense was stressed in advertising for the Lincoln-Zephyr
which, despite its twelve cylinders, was not unusually fast (March 1938).
pay a slight extra charge in order to Marvel at gear-shifting from your wheel.
Not all performance-oriented copy was inspired. Plymouth was frequently pedantic in advertisements and catalogs, as in 1939: Every Plymouth model has the same, big,
82horsepower L-Head engine giving full power.... No
one ever accused Plymouth of hyperbole. Following LincolnZephyrs success in the middle-class market, Ford introduced
the Mercury marque in October, 1938 for the 1939 model year,
to compete with Oldsmobile, Pontiac, and Dodge in the lowermiddle price eld. Less pedantically than Plymouth, Mercury
offered a brilliant, economical new 95-horsepower V-type
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P ART O NE : F UELING
F ANTASY
3. T HERE S A DDED J OY
In 1927, Havinden brought the American-born poster
and advertising designer Edward McKnight Kauffer to the
agency, and Kauffers work for Chrysler between 1927 and 1929
included publicity material which was remarkably sophisticated for its time. In a 1928 brochure, for example:
A bronze-coloured ink was used for the cover, with lettering
in terracotta and a symbol in dark blue. Each page opening
[was] a variation of squares and circles printed in aluminium
and royal blue, with text and diagrams in chocolate brown.
The trick of using positive and negative lettering, which
Kauffer rst tried out in 1925 [in the symbol of the Film
Society in London, of which Kauffer was a co-founder and
which was a principal channel through which England became aware of modern experimental lm], became a
favourite device. This habit of reversing lettering into light
and dark as a word crosses over broad rectangles of colour
was a hallmark of Russian experimental graphics in the early
twenties....31
Thus was born the Bauhaus-pastiche typography that remained popular among upmarket automobile advertisers in
Europe and America for several years, and of which Chrysler,
IN
A DDED C YLINDERS
61
What a difference a decade makes! Static photographs and tableaux were commonplace in British advertising for American cars
in the 1920s. By the late 1930s, however, new models offered good performance at modest cost, and were advertised accordingly
(December 1927 and March 1938).
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P ART O NE : F UELING
F ANTASY
tried out almost every suitable car under 800 and over 500,
when it occurred to me that I might at least try the Studebaker in spite of what one might fear from its comparatively
low price. I had not driven more than a few yards before I was
surprised, nor a few miles before I was amazed at its performance. For acceleration, for road-holding and even for high
speed, I had met nothing to better it.... [O]nce on the open
road, there is the over-top gear brought into action merely by
momentary deceleration. At once the engine seems to disappear; one seems to be coasting, yet still the car has
remarkable hill-climbing and accelerating ability.
One could hardly wish for a better car.
After World War II, Britons could not usually buy new American cars because imports were
restricted. In 1954, for example, only 211 cars
were ofcially imported from the United States
alongside 21 from Canada, with a combined 671
following in 1955.33 When American cars did become more readily available they were much
more expensive, compared with the native product, than their pre-war counterparts. But in their
domestic market American manufacturers increasingly paced each other, marque for marque.
Copywriters promised ever greater horsepower,
and Buick set the pace in December, 1945:
Numerous aids to gear-changing were created and advertised before HydraMatic arrived as an option on 1940 Oldsmobiles. This reliable but rarelyspecied four-speed predecessor of mid1937 to 1939 required a clutch pedal
only for starting and stopping (and engaging reverse). If started with the lever
in L (low), it shifted to second automatically. Then, after the lever was
moved clutchlessly to H (high), it shifted immediately to third and, as necessary, to fourth. Started in H, it ran through rst and third to fourth, omitting second. Flooring the accelerator in fourth reengaged third for maximum
acceleration. Would explaining all this in magazine advertising have increased
its sales, or was the $100 it cost in 1938 just too much? (1938 campaign).
3. T HERE S A DDED J OY
IN
A DDED C YLINDERS
63
The postwar horsepower race began for Buick in late 1945, and received a boost with the adoption of a modern V-8 in 1953 (December 1945 and September 1953).
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P ART O NE : F UELING
F ANTASY
With such predictions from experts in space technology, coupled with optimistic articles in magazines
such as Scientic American, American scientists, and
the public who followed their experiments, were optimistic. Oldsmobiles copywriters, with consumers
eager collusion, luxuriated in quasi-phallic rocketoriented imagery for over a decade.
The horsepower race soon acquired its own momentum. The surging might of Miracle H-Power
offered on the 1952 Hudson Hornet, with a name that
reminded readers of the recently invented hydrogen
bomb, was no longer enough.
Chrysler, with an established reputation for
3. T HERE S A DDED J OY
IN
A DDED C YLINDERS
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66
P ART O NE : F UELING
F ANTASY
A classic of its kind, this well-known advertisement from De Soto marked the high point of copywriters performance race of the
late 1950s, which was toned down in 1958 (March 1957).
3. T HERE S A DDED J OY
Turboflash V8 engine, more powerful than 1957s, was nevertheless billed as smoother, quieter to give all the power you
need for safe, effortless driving. This was worthy, but it made
for dull copy.
Lincolns advertising followed a similar pattern. Performance proof was offered in 1955: For the third year in a row
Lincolns swept the rst two places in the large stock car division of the grueling Mexican Pan-American road race. The advertisement did not mention who was in the other divisions,
let alone any overall results.
In the low-price eld, Chevrolet boasted a year later that:
This is the car, you know, that broke the Pikes Peak record.
The car that proved its red-up performance, cat-sure cornering ability and nailed-down stability on the rugged, twisting Pikes Peak road.
Other Chevrolet advertisements for 1956 showed a speeding sedan being led by a police escort (Of course, you dont
have to have an urgent errand and a motorcycle escort to make
use of Chevrolets quick and nimble ways), and as the favorite choice of remen, although it was not stated how many
re services actually used Two-Ten four-door sedans with
flashing red lamps like the one shown in the illustration.
Horsepower that ranges clear up to 225 explodes into action
to zoom you out ahead with extra seconds of safety said the
copy, perhaps with an eye on Fords aggressive safety campaign of that year, although this tigerish power was also as
tame to your touch as a purring kitten. The Hot Ones Even
Hotter said the slogan, unambiguously.
Such copy marked a decisive turnaround from the famous valve-in-head engine centered, poised and cushioned
in rubber by new high-side mountings of 1952. What was
popularly known as the stovebolt six had continued through
1953 (The mighty 115h.p. Blue-Flame engine teamed with
Powerglide automatic transmission) and 1954 (the BlueFlame 125 in Powerglide models and the Blue-Flame 115 in
gearshift models), eventually to give way in 1955s advertising to a 162bhp new Turbo-Fire V8... strictly in charge when
the light flashes green with an 8:1 compression ratio. A Special to adventure lovers: 180 h.p. Super Turbo-Fire V8 was
an option, and Blue-Flame sixes of 136bhp with Powerglide and
123bhp without were mentioned regularly, if at times just in
passing. In 1956, Chevrolets performance image had only just
been established, and copywriters fought hard against Fords
V-8 tradition (updated, ahead of Chevrolet, with a new overhead-valve 130h.p. Y-block V-8 in 1954) and a rejuvenated
Aerodynamic Plymouth 56 with new ns, described as the
jet-age Plymouth with sensational higher-horsepower HyFire V-8 and PowerFlow 6 engines ... [giving] 9090 TurboTorque getaway for Top Thrust at Take-Off....
Chevrolet returned for 1957 with a colorful series of advertisements which showed the car overtaking coaches, climbing hills, and speeding along highways: Lively performance is
part and parcel of Chevys light touch personality. Thats why
IN
A DDED C YLINDERS
67
68
P ART O NE : F UELING
F ANTASY
During 1959-60, Ford promised sporty escapism in a lavish series of double-page spreads for the Thunderbird (June 1960).
was brought out more strongly, and the new high-performance Thunderbird 390 Special V-8 engine was modestly promoted as one element in a precision team for a new high in
automatic driving. Other contributions to the new high
were a Swing-Away Steering Wheel ... Power Brakes ... Power
Steering (the last two to be expected by 1961, even on lowlier
Fords, if only as options) and Cruise-O-Matic Drive transmission. By 1961, however, elaborate names and capital letters for conventional power features were becoming old-fashioned, and they soon disappeared for good.
After several years promoting comfort and gadgets, advertisers began to return to performance in the early 1960s,
and did not conne themselves to copy for large cars. Chevrolet promoted 1959s compact dbutante for 1960, the aircooled, rear-engined Corvair as The Sporty Car in Chevrolets New World of Worth in 1962. Even if the Corvair was
not a high-performance automobile by absolute standards, it
was more exciting than a regular Ford Falcon.
Ford counter-attacked with the Falcon Futura, and enjoyed the advantage over Chevrolet that engines from larger
Fords could be shoe-horned into Falcons, whereas the air-
3. T HERE S A DDED J OY
IN
A DDED C YLINDERS
69
70
P ART O NE : F UELING
Buicks Riviera was the rst of a new breed of sporty personalluxury cars (May 1965).
F ANTASY
stabilizer bar. You need not be a professional driver to qualify added the copywriter, to the lasting regret of Americas
insurance companies.
Oldsmobile offered the full-size Starre in 1964: High
adventure starts right here! began one piece, which showed
the new coupe roaring up a mountain road. From its bold
grille to its exclusive dual-chambered exhausts, this beautys
new action silhouette says 64 belongs to Starre. Sample the
response of the 345h.p. Starre V-8.... By later standards
this was tame copy, but action had emerged as the buzzword
of the moment and it often reappeared, sometimes with wit and
sometimes as an inevitable clich, in the copywriters repertoire
of sporty words. The Starres image was consolidated in
1965:
Every line says let yourself go ... where the action is!... You
see it standing there, poised and eager, every sleek line tingling with anticipation. And it seems to whisper, Lets go.
Lets fly!... Then a turn of the key ... a flick of the consolemounted T-stick Turbo Hydra-Matic or 4-on-the-floor and
370 high flying horses put wings to your wheels!
3. T HERE S A DDED J OY
IN
A DDED C YLINDERS
71
72
P ART O NE : F UELING
F ANTASY
Horsepower and safety equipment went side by side in Pontiac copy of the late 1960s, as with this Firebird (November 1967).
3. T HERE S A DDED J OY
250hp regular gas V-8 or its 285hp premium gas cousin,
along with such sporting gadgets as a Hood-mounted tach.
The regular Pontiac slogan, Ride the Wide-Track winning
streak was shortened to a more dynamic Wide-Track Pontiac/67.
In 1968, the sports and Wide-Track themes were combined in copy for the GTO and a new Mustang competitor,
the Firebird convertible. The Great One was made 1968s
Car of the Year by Motor Trend magazine, which commended
it for a revolutionary bumper so new you have to kick it to believe it ... it wont chip, fade or corrode. It was an understandable tactic in view of increasing concern about automobile
safety, and it also looked modern, sleek, and muscular, a look
that was enhanced by concealed headlamps. In case anyone
thought that the marque was going soft, reassurance was given
with a 400-cubic-inch, 4-barrel V-8 or an optional Ram
Air engine with deep-breathing scoops. Options on the Firebird included mag-style wheels and stereo tape, the latter
IN
A DDED C YLINDERS
73
Chapter 4
Pushbuttons
and Plastic Tops
1946. A Canadian advertisement listed, inter alia, Permi-rm
steering, Panthergait springs, and a StepOn parking brake
which was not, by 1946, a novelty. In 1949, Chryslers semantics ranged from the gently imaginative Cyclebonded Brake
Linings to a Waterproof Ignition System, the latter an example of a description masquerading as an original name for
a feature. Plymouth promoted Ignition Key Starting in the
same year, along with an Automatic Electric Choke and
other assurances of mechanical worthiness. Studebakers
equivalent copy represented an oasis of common sense. Your
brakes adjust themselves, in 1949, was modest and sensible.
Chevrolet, on the other hand, was uncharacteristically fanciful in a 1952 advertisement which drew attention to RoyalTone Styling, Color-Matched Two-Tone Interiors, Center-Point Steering, and the inimitably euphonious JumboDrum Brakes.
By 195354, power features, once conned to prestige
cars, were becoming more widespread, particularly on medium- and lower-priced cars. In the medium sector, De Soto
offered Full Power Steering, which was claimed to reduce
steering effort by 80 percent, in 1953. The system was intended
to eliminate the woken-from-slumber sensation given by some
early power steering systems which were prompted into action
only after the steering wheel had been turned a little. In the
same year, De Soto also offered soberly titled Power Brakes,
which reduced pedal effort by some 50 percent.
In 1954, power gadgets continued to move downmarket.
Chevrolet claimed to be First in its eld with all these power
features for you, which included Powerglide transmission
(optional since 1950); a power-brake option with Powerglide
cars; and power steering, windows, and seats as stand-alone
extras, the steering being carried over from 1953. Not to be
74
4. P USHBUTTONS
AND
P LASTIC T OPS
75
Capital-Letters-And-Hyphens, together with elaborate names for mundane features, were widespread in early postwar copy (1952
campaign).
76
P ART O NE : F UELING
F ANTASY
Power features trickled down from the ne car eld to the middle- and low-priced sectors during 1953-54 (May 1953 and March
1954).
4. P USHBUTTONS
AND
P LASTIC T OPS
77
Mercurys plastic top was a dream car feature that proved unpopular with buyers, but it drew attention to the regular Mercury
range, which was partly its purpose (March 1954).
78
P ART O NE : F UELING
F ANTASY
4. P USHBUTTONS
AND
P LASTIC T OPS
79
gained in the hood and lost from the trunk, and the power
features were similar, too, even if ns and chromium had given
way to a sleek, uncluttered, coke-bottle look.
Stabilization brought diversity, just as it had in the 1920s,
though the differences between marques and sizes were now
determined as much by function as by status. If one believed
the copywriters, 1957s new car buyers were all excited by essentially the same themes, which were reinforced by the automobiles wider association with Americas technological consciousness. By 1967, the common aspirations that had sustained 1957s automotive fantasy were in retreat as increasing
concern over fuel availability, pollution, and safety encouraged the dispersal of earlier, uncomplicated expectations.
Effortless driving nevertheless remained a priority; and
air conditioning, almost universal as an option, was now
more widely tted in practice. In 1969 the Ford Thunderbird
could be ordered with the push-button sliding steel roof that,
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P ART O NE : F UELING
consciously scorned by the suburban professional whose transport was a compact station wagon. And when prestigious European luxury car makers challenged the fundamentals of
American car design with advertising copy that mocked the domestic products lack of dynamism and technical sophistication, the fantasy became self-conscious, aware of its partiality,
and was thereby rendered largely impotent. Where motorists
continued to look for old-style automotive values, they did
so self-consciously, aware that they did not participate in a
dream that was universal, or even necessarily popular.
From the mid1960s, advertisers increasingly identied
with particular sectors of the new-car market. In each case,
the copywriter tuned in to the imagined point of view of the
target sector, addressing the priorities and life-perspective of
a particular type of buyer. No longer was it possible to appeal,
even in passing, to a common automotive fantasy. A view of
the world which was attractive to traditional luxury car buyers was not only unappealing, but actually repellent, to the
champions of functionalist imports.
F ANTASY
The question was asked by Oldsmobile in a series of advertisements in 1970, but it had been formulated in a thousand different forms by the time that the Oldsmobile Cutlass
Supreme was posed in a restaurant scene by its makers to encourage the new car buyer to escape from the ordinary.
Escapist advertising invited the motorist to give up a dull
existence led without the car for an exciting and fullled life
with it. In the early days of motoring, the choice was between
owning a new car and owning none at all. Until the 1930s,
mass-market advertisers usually relied on their products mechanical merits while the attendant euphoria was allowed to
take care of itself. This approach was understandable but it
made for uninspired copy. There were a few exceptions to this
trend, of which the most famous is Edward S. Jordans Somewhere West of Laramie advertisement, published in two
forms in the Saturday Evening Post in 1923.1
By the 1950s, most cars were bought as repeat purchases
by established motorists for whom motoring was no longer a
novelty. It was difcult to persuade the consumer to become
as excited about a replacement car as he had once been about
motoring in general, and the excitement factor had to be induced articially with promises of fun and escape from monotonous routine. As Harley Earl once remarked, You can
design a car so that every time you get in it, its a relief you
have a little vacation for a while.2
Styling and engineering features incorporated into the
automobile had to represent fun, escape, and adventure. This
orientation of the consumers perspective in which he willingly colluded had little to do with the car as transportation, and everything to do with the fantasies and aspirations
evoked by its particular characteristics.
The escapist promise took many forms, and the process
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82
Appeals to consumers emotions were not new in 1923, but Jordan was a pioneer in combining copy and artwork into a
euphoric whole. The technique was condemned as absurd by
David Ogilvy forty years later, but is still in use today (June
1923).
One of an unusual series of advertisements from Oldsmobile,
who showed cars in indoor environments that their owners
wanted to escape from, rather than at actual outdoor escape
venues (October 1969).
If one believed the copy, the car was not only comfortable, but
a panacea: Its priced so low, with resale value so high ... that
it will pay to trade away your troubles to your Nash dealer
today and start having year round fun! The car itself was
fast and rened, particularly in eight-cylinder form. According to a British tester of the 1939 model:
It becomes increasingly wonderful what the Americans can do
in providing value for money. This big Nash is 17 ft. long, is a
really roomy six-seater, has air conditioning [Weather Eye
thermostatic heating], overdrive, a maximum speed of ...
85m.p.h. in real silence and comfort.... Altogether, for the
money required [465] this car is a very remarkable product.3
5. W OULDN T
IT BE NICE TO HAVE AN
E SCAPE M ACHINE ?
83
Stylish, fun-oriented escapism from Nash in 1939 and 1953. The seats of both cars reclined to form double beds, to the delight of
wags and teenagers, and the consternation of parents and sexual moralists of all ages (1939 and 1953 campaigns).
84
Ford promoted the New England countryside for its 1956 and 1957 models. This is a Fairlane 500 Sunliner convertible (April 1957).
5. W OULDN T
IT BE NICE TO HAVE AN
E SCAPE M ACHINE ?
85
In the late 1940s, copywriters began to integrate escapism into the promotion of the technical and design features of their products, and
escapism was bound up more closely with what
the particular automobile offered. This was to be
expected, given the prevailing climate. Buick had
set the standard for such pieces as early as 1936.
In a piece headed Thrill for sale! the mechanical pill was sugared as much as possible:
Youll think the drivers seat of that new Buick
was tailored to your measure, so comfortably
will you settle into place.... [T]his phenomenal
performer seems to settle closer and steadier on
the road as you press the treadle, and the lightest tip-toe pressure on those big hydraulics
slows you to a safe swerveless stop....4
Escape, excitement, fantasy Oldsmobile combined these elements so that they were not easily distinguished. Nor were they meant to be separated, for their potency lay in coalition.
The names given to automatic features were
carefully devised to conjure up the required associations of smoothness, power, and escape
from more mundane motoring. Nothing without wings climbs like a 56 Chevrolet! began a Indirect escapism from Oldsmobile with a 98 sedan in 1950. It tted easily
1956 advertisement which went on to describe with the marques performance image (March 1950).
the excitement that came from owning the years
205hp V-8. No longer was it necessary for the
longer was the motorist explicitly participating in American
consumer actually to travel anywhere to nd the desired stimtechnological expansion; his fantasies were largely divorced
ulation. Even ordinary driving could be adventurous with the
from any social or realistic context. The automobile itself,
Exciting Escape offered by Chrysler in 1959. The Chrysler
through what it evoked for its owner, provided the whole esWindsor hardtop was itself a lion-hearted call to the open
cape experience.
road with pushbutton TorqueFlite transmission, TorsionFords Thunderbird was the archetypal personal car,
Aire Ride, and Golden Lion engines.
which came into its own in the climate of the early 1960s. The
The promise of escape was resolutely tied to the charac1960 convertible may have offered action ... sweet, soft, spirteristics of the car, rather than to any transcending of geoited action an adventure in flowing, controlled motion,
graphical or social boundaries. This move towards self-conbut from 1961 the emphasis was more openly on luxury. Actainment of the escapist promise reached its logical conclusion
cording to the copywriters, it was so uniquely new that it
in the introverted, recuperative escapism that was advertised
stands alone in the ne-car eld. The very similar 1962 model
as the main appeal of personal cars in the early 1960s. No
was accompanied by what amounted to its own aura, within
86
The ordinary made extraordinary: the 1959 Chrysler was not an obvious choice for the committed escapist, and was targeted at
the 4050 age group (June 1959).
5. W OULDN T
IT BE NICE TO HAVE AN
E SCAPE M ACHINE ?
87
A contemplative, introverted escapism characterized Ford Thunderbird copy during 1962-63 (June 1962 and May 1963).
88
tinental, distanced the car still further form the sporting ancestry highlighted in a 1963 advertisement which had compared that years model with its two-seat ancestors, declaring
that the concept had stood the test of time.
Others followed Fords lead. The Buick Riviera had the advantage of a prestigious marque name, and enjoyed a slightly
more sophisticated image. The underlying message in 1965,
however, was familiar: Drive a Riviera home tonight. Who
cares if people think youre younger, richer and more romantic than you really are? You were what you drove.
Mercurys Cougar of 1967 was another stylish two-door
coupe that sold as a personal car in its milder versions, bridging the gap between the Mustang and the Thunderbird. It
could also, like the Riviera Gran Sport, become a muscle car
when ordered in XR-7 form. The regular Cougar, which accounted for nearly 80 percent of the models sales in 1967, was
promoted on its looks as much as its power:
5. W OULDN T
IT BE NICE TO HAVE AN
Mercury line.... We believe Cougar is the best equipped luxury sports car you can buy for the money.
The cars promoters had to balance precariously across several stools, but the car remained an individualist, of sorts. Unfortunately, it was more luxurious than sporting. According to
a British tester, [The Cougar] handled like a row of books
sliding off a shelf ... and generally acted very much like the
boulevarde [sic] cruiser that it is. The Mustang is a vastly better motorcar.5 But American and British sports-car enthusiasts rarely spoke the same language.
By 1972, the condence of earlier years was receding. The
Thunderbird of that year, now corpulent and visibly similar to
the related Lincoln Continental, was A magnicent new personal automobile.... Personal in its luxurious appointments
as well.... Its personal, too, in its options. For example, an
electronic anti-skid brake system and the split bench seat, the
vinyl roof, the whitewalls and the deluxe wheel covers pictured above.
Here, as in much advertising for full-size cars in the early
1970s, there was an aroma of desperation, as the language of
romantic ction combined with that of the service manual to
produce copy that was both tense and mundane. Yet the new
E SCAPE M ACHINE ?
89
Chapter 6
A Neurosis Unleashed
But Darling said the girl to her husband, theyre staring at our new 52 Dodge.
Start packing were moving out said the man to his wife. Moving, dear? she replied, Its four in the morning. Her husband
sat down wearily and explained. Everyone else in the neighborhood could afford a new Dodge. Im so ashamed. Grab the other end
of the davenport, dear.
marques in the 1930s. In late 1935, for instance, a doublespread in the Saturday Evening Post announced that there was
a New Whos Who among owners of the 1936 De Soto:
The rst declaration was the headline of a press advertisement; the second, part of a 1962 radio commercial. In both
cases, the message was the same: You would be admired and
envied if you drove the new car, and would be ridiculed and
considered a social failure if you did not. The point was sometimes put lightheartedly, but even if an individual advertisement were dismissed with a smile, it would still fuel that social neurosis whose maintenance was so essential to the
doctrine of dynamic obsolescence that supported the American automobile industry.
The whirling mlange of emotional impulses by which
advertisers hoped the motorists choice of car would be governed was carefully nurtured in a wide variety of copy styles,
tailored in each case to the prejudices and aspirations of the target market. The car buyer was encouraged to be aware of what
others would think of his car and, by extension, how they
would assess its owner. However excellent as mechanism,
however reliable, however attractive, an automobile had to be
socially acceptable; it needed to excite the admiration of those
whose esteem its owner prized most highly.
By 1930, mere ownership of an automobile per se conferred little social prestige; indeed, it was assumed that prosperous families would own two cars and replace them regularly. Increasing reliability and a growing consensus as to
what constituted an acceptable automotive aesthetic led advertisers to distinguish their products by referring to nuances of
styling particularly those by which a mass-produced body
resembled a custom-built equivalent.
The technique was popular with Chrysler Corporations
90
6. A N EUROSIS U NLEASHED
make of car preferred by those to whose status he aspired. To
be proven as a person of sound judgment, the buyer was encouraged to take the word of those who had owned several
examples of the marque in the past with the suggestion that
one was joining an established elite whose values were both immutable and recognized as superior by society as a whole.
In the aspirational copy which pervaded the middle market during the mid1930s, prosperous arrivistes were explicitly encouraged to incite the envy of their peers: By emulating
what they thought were upmarket tastes and aesthetic mores,
they would achieve the status that eluded those unable to buy
the new car. Nashs Eyes Right, Eyes Left All Turned on
Nash! in 1934 was typical of the look at me school of headline which gained currency during the insecure mid1930s.
In the same year, with the worst of the Depression receding,
a Buick was portrayed as the natural accoutrement to a modern, affluent lifestyle:
Men and women are living splendidly once more ... seeking
the tasteful and the beautiful in all things ... and, naturally,
this new era of gracious living suggests the ownership of a
gracious motor car.
91
Watch out, theres a social climber about. Snobbish copy from Nash and Buick in 1934 (both ads: March 1934).
92
as elsewhere, status-conscious advertising had a wider purpose than merely to persuade the car buyer to choose a particular product in the short term. An advertisement was therefore not only a private entreaty (...the car you have always
desired...), but a public statement which invited permanent
allegiance to a set of values which the car and the marque exemplied.
With emphasis that varied from marque to marque, and
more generally from decade to decade, upmarket advertisers
fullled this wide and subtle brief by employing ve main
themes within the genre.
First, the product was presented as intrinsically excellent, so that its possession could satisfy the modern dream of
a superlative automobile, identied as such by its appearance
and competence as mechanism. Secondly, by buying the product, the readers personal dream of being envied would be realized (or, if he had bought previous examples, maintained).
Thirdly, aspirants who were moving upmarket were assured
that they could afford the automobile in question although
expensive, it was of such very high quality that it provided excellent value for money by rational, long-term criteria.
Fourthly, the aspirant was invited to consider the marques
established clientle. Packards long-standing slogan, Ask the
Man Who Owns One, fortied this appeal with an implied
testimonial: The man who owned one would be a man of
sound judgment, and he would be able to describe the particular, functional merits of the product in question. Whether
or not the reader actually bounded out of his armchair and
accosted a succession of Packard owners was, of course, beside
the point; he needed only to be persuaded that they existed. In
Cadillac copy the point was often made with a social emphasis. As one 1957 advertisement put it, the people who bought
Cadillacs would be probably the kind of people you would
enjoy knowing.
Finally, the reader was invited to enjoy the fruits of his
good judgment; the merits of the product were described, and
it was assumed that the intelligent reader would appreciate
them. Possession of the select automobile on offer merely
conrmed its owners subscription to rational values, and allowed him to distinguish his judgment from the impulses of
those who were easily swayed by tawdry ephemera. His was a
higher instinct, reflected in the choice of a better product.
Of course, the supposedly rational buyer of an upmarket
car was lured into consideration of the product by the same
means that engaged his lowlier compatriot. There was, in fact,
little qualitative difference between the motivation of the man
who wished to show off by buying an expensive car and that of
his fellowAmerican who felt the need to declare to the world
that he was beyond such things; the will to declare was common to both. But if the upmarket buyer could be persuaded
that his choice was rational, he might also be persuaded to buy
the product. And if, on closer acquaintance, the automobile in
question proved to be of intrinsically good quality, its virtues
6. A N EUROSIS U NLEASHED
your mastery of its eighty horse-power.... Behind the wheel of
a Packard Eight you may learn the true meaning of luxury,
comfort and distinction in travel.
In December 1926, the emphasis was placed more heavily on the Packard as a possession. It reflected not only its
owners appreciation of quality, but his sense of taste and aesthetic balance. In its implication that one taste was more
rened and of a higher quality than another, the copy was
overtly snobbish:
Pride of possession.... There are those who understand the
subtle pleasure, the inner satisfaction, gained from ownership
of things which the whole world approves and acknowledges
to be ne and genuine. A gown by Poiret; an etching by
Whistler; an authentic Chippendale; a blooded hunter ... such
possessions mean far more to those of taste and discrimination than the sums they cost. Is it strange that such people
turn instinctively to Packard for their motor cars that they
count their Packards among their most prized possessions?
93
Packard, for a generation, has built its cars for such a clientle.
Claims of intrinsic excellence gave way to social pretension in much Packard copy for 1926-27. In this context, good taste was
a stick with which to beat social inferiors rather than an absolute standard of aesthetic integrity (December 1925 and December
1926).
94
The claim was true (as was Edsels equivalent: ... you can recognize the classic Edsel lines much faster, much farther away,
than you can any other car in America!), but the copywriters
parting shot, Flatter yourself...with this distinction was not
enough to ensure Packards survival into 1959.
Lincoln developed a distinctive copy style during the late
1920s and 1930s which emphasized the cars intrinsic quality,
6. A N EUROSIS U NLEASHED
95
Wherever you go, park it out of sight. Eccentric styling did little for Packards diminishing prestige in the marques last year (1958
campaign).
96
Compared with copy for lowlier cars, Lincolns style was measured, flowing, almost languid; the essence of the cars functional appeal was described in long sentences, rather than in
the short phrases and pointed injunctions which were considered necessary to capture the readers attention in downmarket copy. Styling was referred to, in a subtle reminder of
its social role, as appearance:
Lincoln appearance is conservative yet commanding every
detail of appointment conforming to the edicts of good taste.
Best of all the Lincoln you drive today is the car of your
pride next year and far into the future.
Written at any time after 1928, such copy would have seemed
desperate, naive, or breathtakingly cynical, and this advertisement was more specically of its period than most. By 1930
the car itself was old-fashioned and it was replaced in 1931.
Above and opposite: From the classical via the minimalist to the starkly modern, Lincolns backdrops changed radically over a
quarter-century, but the consumers desire to impress his fellow Americans did not (December 1926, March 1934, July 1947, and
1952 campaign).
6. A N EUROSIS U NLEASHED
In the same year, in the middle of Depression, Lincoln attempted to achieve a sense of stability, of progress undeflected.
As in earlier copy, the quality of the present product grew out
of the application to it of timeless standards of excellence:
There is something in the clear bright beauty of a ne mechanism that is peculiarly symbolic of our age. For today we live
in pursuit of an ideal, in search of perfection of function and
line and form. To this ideal, the Lincoln Motor Company is
dedicated.
Not only was the car of good quality; if one believed the copywriter, it represented an oasis of consistency amid the economic turbulence of the period.
97
98
Another 1952 advertisement drew an analogy with the livable comfort of a new-day playroom. As with the playroom,
so with the car:
Fabrics and ttings are breathtakingly beautiful but eminently sturdy. Seats cradle you in a relaxing combination of
springs and foam rubber. Great windows provide superb
views. Lincoln matches modern living in every way.
6. A N EUROSIS U NLEASHED
99
Among upmarket automobile makers, Cadillacs advertising was probably the most consistently and brazenly snobbish, and copywriters concentrated on appealing to a desire
for social acceptability and public recognition. It was not
enough simply to have arrived; one needed to be seen to have
achieved status and influence. Within this elitist context, the
automobile was as much a badge of ofce as mere transportation.
A 1933 advertisement, devised by Campbell-Ewald Co.,
set the pattern for later decades:
Just as certain types of habiliment are made practically obligatory by the occasion, so does the event of unquestioned
renement dictate a motor car of unquestioned renement....
For years, it has been Cadillacs privilege to build for the select
occasions of American society a motor car eminently betting
the need.
Overt elitism from Lincoln in one of a series of 1967 advertisements that described aspects of the Continental life (January
1967).
Its a Whos Who of the highway.... If you could see a list of
all the distinguished persons who own and drive the Cadillac
car you would know, beyond any question, that the statement ... is true. For the roster of Cadillac owners comprises a
virtual listing of the best known and most respected names of
our day....
100
Above and opposite: A single glance reveals a consistency of style and outlook in Cadillac advertising of the 1950s. The social
implications of Cadillac ownership were relentlessly stressed. In The Status Seekers (1959), Vance Packard recalled that one country club committeeman seeking to recruit a new member boasted that [his club] had eight members who owned Cadillacs, while
the rival club only had two members with Cadillacs, the newest three years old (June 1952, May 1956, and June 1957).
family than ever before in its history. Both 1955 and 1956
were record-breaking years for the Division, and, 1955 being a
boom year for car sales generally, any successful marque could
be expected to have reaped its fair share of rst-time buyers.
Cadillacs condence was reflected in another 1956 advertisement which built upon 1952s theme: ... for through the
years, Cadillac has been the consistent and overwhelming
choice of those who choose without restriction. In 1957, the
social climber was again openly targeted in an appeal to his idealized self-image:
A Single Glance Tells the Story ... when it reveals a gentleman
and his lady in the company of a new Cadillac car. It tells you,
for instance, that they are probably the kind of people you
would enjoy knowing ... people of character and substance.
6. A N EUROSIS U NLEASHED
In the early 1960s, Cadillac combined elaborate illustrations with minimal if grandiose copy. Perhaps the most
memorable line appeared in 1961: A new Cadillac car is one
of the few material possessions for which there is no completely acceptable substitute. In 1962, more directly comparative copy took over in captions such as Cadillac craftsmen
build only Cadillacs a circumstance that is unique among
Americas ne cars; You can buy a new Cadillac for less than
the cost of eleven models of less eminent makes of cars; and
There are thirteen Cadillac body styles for 1962 ... more than
twice the selection available with any other car in Cadillacs
price range.
From 1963, greater emphasis was placed on the tangible
qualities of the car and, between 1963 and 1966, buyers who
could not afford a new Cadillac were encouraged into the fold
by a series of advertisements which stressed the prestige that
accrued even from ownership of a used model. Once the car
buyer had got used to the social benets of Cadillac ownership, he would be unwilling to give them up, and might be
persuaded more rapidly than otherwise to buy a new model.
Such advertising relied not only on wishful thinking, but
also on the genuine esteem in which the marque was then
held. It was up to the copywriter to nurture that perception by
101
102
A relaxed, sociable one-upmanship was the keynote of these advertisements from Plymouth and Chevrolet (1953 and 1956 campaigns).
before prestige ... is impatient with yesterdays standard of excellence.... Which, given Cadillacs Standard of the World
slogan, suggested a certain amount of inter-divisional rivalry.
Each advertisement in the series showed a man of action in dynamic pose, striding along a corridor, or working
out a deal with a colleague. For Buick, class was no longer
something one did or did not have; it had to be achieved, the
means of achievement being made visible, and consisting in
more than being born into a rich family, or the acquisition,
by exertion or benign fate, of a large amount of cash.
There remained an underlying tension in much elitist
copy between individualism and the need for a recognized
symbol of status. If the car buyer bought an instantly recognized, mass-produced status symbol, it was ipso facto impossible for him to be a genuine automotive individualist, with
the prestige that such individualism entailed. Yet if he bought
what was claimed to be a truly exclusive car, while remaining
within the American ne car tradition, it might not easily be
recognized on the road as the prestigious indicator of discrimination that it set out to be.
6. A N EUROSIS U NLEASHED
103
Get em while theyre young(ish), and with luck they will stay loyal for years. Owners of 1961 and 1963 models exchange compliments (April 1963).
104
The confusion apparent in this 1967 advertisement for the compact Valiant reflected a wider dilemma, as buyers of economy
and prestige cars turned to imports for individuality and social
kudos (February 1967).
do with age, profession or position it can be found wherever people see their car as a perfect piece of workmanship
rather than [sic] as a symbol of their wealth and status.
Thus the consensus among upmarket American automobile advertisers about the social function of a prestigious
car a consensus that had existed since the early 1930s was
undermined. American car manufacturers themselves were
undermined by the importers when the car that could be promoted as showing that its owner was socially beyond the fray
ceased to be American. The condence of earlier Cadillac copy,
in particular, appeared unlikely to return. It was by a renewed
emphasis on engineering and on the efciency of their products as functional mechanisms that the copywriters eventually found a way forward. The wheel had turned full circle,
but with an important change: Never again would an American automobile be enough to satisfy every consumers automotive dream.
Chapter 7
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106
Above and opposite: Three typical advertisements from J. Stirling Getchells famous campaign which combined realism with
human interest. The comparative theme was incorporated into two principal forms: personal assurances from Chrysler Corporation personnel, including Walter Chrysler himself; and the contented-ordinary-user testimonial. In each case, the photographs
used were chosen with care from a vast number taken by professional photographers at great expense, so that a modest slice-oflife tableau often cost more to create than the most elaborate conventional artwork (March 1934, June 1936, and March 1937).
engineered car in the low-price eld because it is the only
low-priced car that has all of them.
... came off the page fast.... We believe people want realism
today.... Events portrayed as they happen. Products as they really are. Human interest. People. Places. Told in simple photographs that the eye can read and the mind can understand.8
See how Plymouth savings pile up! began a March, 1937 advertisement, in letters an inch high: Heres the biggest and
most beautiful of All Three low-priced cars ... and the most
economical full-size car in America! There followed a list of
features and specications, such as a new, Hypoid rear axle,
formerly in high-priced cars only. The advertisement concluded with the slogan, Plymouth Builds Great Cars and a
reminder that the 1937 model was still The Best Buy of All
Three!
Advertisements for the 1938 model year consisted mainly
of captioned photographs of special features. In November,
1938, paintings joined the photographs to promote the 1939
Plymouth in a newsflash style: Plymouths Got It! more
value, beauty, luxury than any other low-priced car in history. A competitive edge was maintained with New Lower
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Massiveness and lowness distinguish the front end of Plymouths Finest. The car is long, wide, roomy ... with concealed
running-boards ... new-styled interiors. This was marginally more exciting, perhaps, than the pedantry of 1939, and it
was a sign of how far Plymouths styling had come in the intervening years that a 1942 model was used in one of General
Tires glamorous color advertisements of 1945.
Plymouths 1942 style would be perpetuated in outline
on Britains postwar (1947) Standard Vanguard, whose advertising copy, with realistic photographs and minutely detailed
copy in catalogs, reflected that which promoted the parent
idiom, while 1942s slogan, Buy Wisely, Buy Plymouth,
turned up in pre- and postwar copy for the upper-middle class
British Wolseley as Buy Wisely, Buy Wolseley.
After World War II, the comparisons resumed with a
wider variety of styles, and 1939s hysterical newsprint was
banished. An October, 1948 advertisement took the form of a
story told by a proud, if mythical, Plymouth owner: Buying
a new car is a big decision for a family, he began:
And, in my little family, everybody has an equal voice. Thats
why Mother and Johnnnie went along with me as we started
out to nd the one car that would be the best car for us.
And so they set out, Family Man in his suit, Mother and Johnnie in judges robes, ready to give their verdict. So that the
story would not drag on for several pages, Family Man was
shrewd enough to look at the most competitive car rst:
The tale unfolded, and Johnnie expressed delight at the Airfoam Cushions as Mother just sat back ... kept saying I feel
so safe and secure, which must have been unsettling for the
demonstration driver. Safely at rest, she got out of the car and
got real practical. She inspected the big luggage compartment. Why, the lid opens with a nger-touch, she exclaimed,
and its so balanced that it cant fall down and crack your
head.
Finally, Family Man took the wheel and found this Plymouth was the easiest-handling car I ever drove.... After the
ride, I looked at Mother and I looked at Johnnie and I knew
we had arrived at a verdict. At the end of the story, the inevitable family dog, also in judicial attire, delivered the familys unanimous verdict by banging his gavel on a board which
said, Theres a lot of difference in low-priced cars and PLYMOUTH makes the difference!
By contrast, a December, 1948 piece showed a painting by
Norman Rockwell of a little boy standing forlornly on stage at
his schools Christmas play. His mother, in the audience, explained to an anxious-looking Family Man: I knew hed forget ... all he can think of is our new PLYMOUTH. A seasonal
108
The comparative theme continued after Getchells death in 1940. Cartoon strips were briefly popular in the late 1940s (Ford used
them as well) and with Rambler in the late 1950s, although 1949s quizmasters challenge was an oddity, representing a kind of
advertising rarely used with automobiles and leisure goods (October 1948 and November 1949).
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Imaginative Christmas advertising in the kind of small-town setting that matched Plymouths longstanding marque values.
(December 1948).
110
Two colorful, conventionally illustrated pieces for a new Plymouth range. The copy was relentlessly functional (August and September, 1949).
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Rationalism in retreat. The comparative theme was still present in 1956, but no longer made headlines (February 1956).
The comparison would invite conversation, and the neighbors would imagine that one owned the car. The guest might
be tempted to buy it in order not to have to admit on Monday
morning, as he got into his 55 Mercury, that he couldnt afford it, and only had the car on trial. And even if he could afford the car, the neighborhood might not be convinced unless he bought it.
Cadillac was more straightforward in 1959:
We believe that a personal inspection will convince you and
that an hour at the wheel will add certainty to conviction.
Why not accept your dealers invitation to visit him soon
for a ride and a revelation?
During the 1960s, comparative copy became more widespread. A 1965 Rambler advertisement concluded: FREE!
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Selective statistics from Mercury in 1954. The consumer was not encouraged to think for himself, but merely to think that he was
thinking... (September 1954).
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Without the slightest obligation but how do you admit to neighbors that you have only borrowed it? (May 1957).
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114
A condent, if implicit, invitation by Cadillac to compare the flamboyant 1959 Series 62 Coupe with its rivals. Fin height varied
slightly from car to car, as handwork was employed during construction (May 1959).
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Imperial lured eminent motorists from other makes during 1962-63 in a distinctive campaign (February 1962 and April 1963).
116
It isnt very likely that youll run out and buy the new 69 Imperial just because the headlights see you to your door. Just so
but is it any more likely that youll buy a conventional luxury car for its hidden engineering features? Imperial crosses its ngers
in 1969 (October 1968).
an Imperial comparison-tour may easily be arranged by writing on your letterhead to: General Manager, Imperial Division.... Subsequent advertisements targeted specic groups of
Americans who were successful in their elds. A proposal to
Americas eminent attorneys was typical:
Within the month, you and your colleagues in the legal profession will be offered personal use of a new Imperial for a
thorough driving test. You will be asked only to specify an
hour of appointment. Our dealer will deliver the car at your
home or ofce; he will brief you on operation of its controls;
he will answer any questions you may have. Then the Imperial is yours ... for as long as you need to make a full and private evaluation of Imperial motoring.
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The essence of marque loyalty as stated by Cadillac in the mid1970s (February 1976).
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118
Chapter 8
The objectivity factor of an advertisement was increased by comparing a product with its immediate rivals.
Otherwise, with advertising for cars, as for other products, a
lingering doubt might remain in the readers mind that the
features selected for analysis had been chosen less than impartially. And when, as in Plymouths copy, the automobile in
question was declared to have a greater number of features
than its rivals, the question remained What was a feature?
In the early days of the automobile, a steering wheel, rather
than a tiller, was a feature. So was a pneumatic tire or, in the
early 1930s, a pressed-steel wheel. By 1939, however, the general design of the American automobile was established, and
apparently similar products needed to be differentiated. There
then arose the danger that, by laboring details, a copywriter
would bore the reader and appear to damn the product with
faint, if protracted, praise. What was the car, in its totality,
really like?
One response to this challenge was the contented-ordinary-user testimonial. As an advertising motif, it appeared
sporadically. The independent testimony of the consumers
cited by Plymouth in its long-running Compare All Three
campaign was convincing because it was derived from downto-earth experience, rather than any supposed expertise or
vested interest. Even if Plymouths interviewees all sounded remarkably similar, the all-important appearance of objectivity
was given, and the objectivity of demonstrable difference provided by comparisons with Ford and Chevrolet was augmented by the objectivity of disinterestedness guaranteed by
the independence of the testimonials. At the very least, Plymouth was seen to value the opinions of its customers. Plymouth preferred the testimony of conspicuously worthy, dependable individuals the people who reflected Plymouth
values: engineers, small businessmen, reghters, police
ofcers above all, people who were realists. In April, 1936,
America is full of families that own more than one Plymouth, added the copywriter, challenging the longer-established opposition. An August, 1936 piece quoted Mrs. William
Pitt of Stamford, Connecticut, who was shown with her new
sedan beside her husbands 1935 Plymouth convertible a
clever way of showing off 1936s updated styling. The rst
time I rode in my husbands Plymouth ... I knew I wanted one,
too.... And, since interior decorating is a practical hobby of
mine, I am quite in love with the beauty of this new Plymouth
... both inside and out!
In May, 1936 Walter Zepke, an aircraft development engineer, declared: A Sweet-Running Motor is Music to Me
and went on to say how impressed he was with Plymouths
Floating Power rubber engine mountings: Aviation puts a
premium on vibrationless operation. So Plymouths Floating
Power impressed me tremendously. As did the economy and
power of the engine. For 1937, the theme was continued with
slightly updated layouts and typefaces. Miss Beth Hower, Director of Public School Bands was pictured with her Plymouth, which she had driven through water so high that it
flowed over the floorboards. But my car ran perfectly ... and
Ive never had any real mechanical expense! she assured readers.
As an advertising strategy, this series of testimonials had
119
120
Deputy Sheriff Pat Enos was typical of the solid, mature citizens cited by Plymouth in the mid1930s (April 1936).
8. T HE O BJECTIVITY F ACTOR
121
Dodge prices started $130 higher than Plymouths but, like Plymouth, Dodge appealed to conservative, practical folk (May
1936).
122
AMC echoed Plymouths campaign nearly thirty years later in a long-running series of Love Letters to Rambler (July 1963 and
June 1965).
8. T HE O BJECTIVITY F ACTOR
123
124
was told the thrilling True Story of the man who is living on
Borrowed Time, in which a motorist suffered a blow-out
at an inopportune moment: His wife was ill. He was rushing
to her ... when BANG!... A BLOW-OUT! The story appeared
to be an account of a documented incident, although the true
story could cleverly have been that of any man who is
presently living on borrowed time rather than that of the particular character who felt he was
after the blow-out brought him
to his senses. But it was a parable
of what could happen to any
motorist. It concluded with an
earnest injunction to keep tires
in good condition, and to buy
Goodrich tires, of course.
In another advertisement,
S.S. Van Dine, celebrated author of popular mystery thrillers
and creator of Philo Vance, was
drafted in to write about a
police chase in which the pursuing car suffered the inevitable
blowout. There was the inevitable homily, too, though
credibility was enhanced, in this
case, by the use of a story suggested by an actual occurrence,
though it was not mentioned
whether the occurrence had involved a police car and an eyewitness or a bicycle and a vivid
imagination. Both advertisements were signed by their respective authors and they ensured, if nothing else, that the
next time a reader picked up a
mystery thriller, he would also
think of his tires.
Showbusiness celebrities
endorsed all kinds of improbable cars in the 1930s. The technique was a particular favorite
with De Soto, whose cars were
acclaimed by such luminaries as
Gary Cooper, Ginger Rogers,
Jack Dempsey, and Deanna
Durbin. Shirley Temple and her
safety-conscious mother endorsed a 1936 Dodge, and a 1937
Studebaker was shown with Bob
Hope.
Copy reflected the stars inRex Beach was one of several popular writers who endorsed Goodrich tires in 1937. It was not
dividual
specialties. Bing Crosby
stated whether he actually used them (1937 campaign).
user testimonial was the celebrity endorsement, in which a
well-known lm star, writer, or other celebrity posed with the
product and said how good it was, while not necessarily owning or knowing very much about it.
In 1937, Goodrich Tires employed well-known authors to
write graphic accounts of accidents caused by faulty tires. In
a piece written by well-known author Rex Beach, the reader
8. T HE O BJECTIVITY F ACTOR
125
126
Rolls-Royce quality at a fraction of the cost? American engineering gave many European luxury car makers pause for thought in
the 1930s. Behind the car is Nelsons column, 169 feet high, in Trafalgar Square, London (February 1940).
8. T HE O BJECTIVITY F ACTOR
use. Constructed by LeBaron, it had a uniquely luxurious interior designed by Chryslers head of interior design, Fred A.
Selje.
Radio sponsorship continued through World War II. Patriotic listeners could tune in on Major Bowes Program every
Thursday, 9:00 to 9:30 P.M., Eastern War Time according to
a 1945 De Soto advertisement showing a 1942 model. In the
same year, NBC offered General Motors Symphony of the
Air every Sunday afternoon, while Nash devotees were promised a New Radio Hit Show! with The Andrews Sisters
and Guest Stars Sundays 4:30 P.M. E.W.T. Blue Network. Alternatively, there was the Friday night Ford musical program, also on Blue Network, succeeded later in 1945 by The
Ford Show with Brilliant singing stars, orchestra and chorus. Every Sunday, over Coast-to-Coast NBC Network.
Times were given for different time zones.
In the 1950s, television increasingly supplanted radio and
lm in the public imagination, and copywriters adapted their
scripts as automobile companies began to sponsor television
127
128
advertisement, found the Lincoln of that year ideal for his pictures.
By the end of the 1950s, the celebrity endorsement was
losing favor as an effective theme for press advertising, and it
would recur only sporadically in the 1960s and 1970s. It was
therefore surprising to see the genre fleetingly resurrected for
large cars in the 1970s, as by Oldsmobile in January, 1976: We
built this Olds 98 for Walt Lecat, who expects the car he buys
to make him feel like a king. Or better. In the same year, the
singer Jack Jones smiled suavely from the velour-upholstered
back seat of a Chrysler New Yorker Brougham: Its the talk of
the town.... Everybodys talking about the New Yorkers elegant
styling and comfort. It was an old-fashioned strategy for an
old-style hardtop sedan, and the nostalgic flavor was reinforced by a television program announcement at the foot of
Oldsmobiles copy: Tune in the Bing Crosby Pro-Am ABCTV Sat. and Sun., Jan. 2425.
It was almost like old times.
Chapter 9
129
130
Wishful thinking: The 195257 Nash gained a reputation as a ladies car, and was neither sporting nor European in flavor, Pinin
Farinas actual contribution being minimal. The record-breaking engine was faster in the Nash-Healey sports car than in a fullsize unitary Airflyte (August 1953).
9. R EMEMBER H OW Y OU H UNGERED
FOR I T ?
131
Budd made body components for numerous manufacturers, and could justly claim to be pioneers in the eld, having supplied allsteel closed bodies to Dodge as early as 1914, and licensed their production by European manufacturers such as Citron and Morris between the wars (December 1952 and January 1953).
The slogan, Wouldnt you really rather have a Buick? involved readers emotions as others catchphrases often did
not, and worked particularly well with Buicks more charismatic personal-luxury Riviera.
Several copywriters traded on a burgeoning public inter-
est in old cars. If the Stutz Bearcat was considered worth preserving in 1953, the same could be said of many pre-war cars
by 1968, a vintage year for Wide-Tracking according to Pontiac, who showed a number of old cars, such as a 1940 LaSalle,
with a Bonneville coupe. So theres really no doubt, said the
copy, that 1968 Pontiacs will be talked about for years to come.
And lucky you. You can own one without paying classic car
prices.
Few genuine automotive novelties arrived in the early
1970s, and increasing interest in nostalgia of all kinds was reflected in advertising. After several years of unmemorable
copy, Chevrolet revived an old and popular jingle, See the
USA in your Chevrolet, which had been associated with a
TV show hosted by Dinah Shore. Chevrolets marque identity, at a time when it produced many ranges of cars which appealed to distinct consumer groups, was under threat, and the
1972 slogan, Chevrolet Building a better way to see the
USA worked well with an Impala at the beach south of
Miami, Florida or a Chevelle Malibu Sport Coupe at the
132
9. R EMEMBER H OW Y OU H UNGERED
FOR I T ?
Pontiac capitalized on a growing public interest in old cars in 1968 (April 1968).
133
134
Chevrolet reintroduced an old slogan in 1972 in order to strengthen its marque image after the Corvair dbcle, engine mounting problems with late1960s full-size cars, and a Vega dbut beset by strikes and quality control lapses. The campaign was successful, and sales improved (May 1972).
9. R EMEMBER H OW Y OU H UNGERED
entirely in rubber, British Leyland Motors Inc. announced
The Golden Anniversary MGB in a double-spread which
showed the latest American-market model alongside six photographs of MGs from 1925 to 1957. Each was posed outside
an ancient English church, the early models with English license
plates. Since 1925, MG has espoused a simple but unconventional philosophy: that driving can and should be enjoyed,
not just endured, said the copy. Another advertisement in
the series reminded readers that From our rst Gold Medal
in the 1925 LondontoLands End Trial to our latest SCCA
victories, MGs have been racing and winning for 50 years,
before describing how such experience had influenced the design of the latest model.
Not that the latest MGB was quite as invigorating as its
chrome-bumpered predecessor. In March, 1966 that car
with an invocation of the Octagon spirit but no explicit nostalgia had been shown with knobbly rear tires and skis
strapped to the trunk as a car that keeps its feet on the
ground free of the vicious, unpredictable tricks that careless design can lead to. Ralph Naders Unsafe at Any Speed
was by then well known to enthusiasts, and if a convertible
FOR I T ?
135
Chapter 10
Theres a Ford in
Your Future
The war years and their aftermath provided a unique opportunity for automobile manufacturers to present themselves
as a force for the national good. Patriotism and a sternly optimistic outlook were combined in advertising. Civilian car
production ceased on February 9, 1942, and factories were
converted to war production under the guidance of the Automotive Council for War Production, which had been created
on December 31, 1941 to coordinate the use of manufacturing
facilities within Americas car plants. If copywriters could not
illustrate new cars, they could demonstrate how hard their respective companies were working for the war effort, and much
imaginative copy resulted.
Advertisers could also trade on the fact that their last prewar models were still running, enabling civilian life to continue
with the minimum of disruption. Of course, if the wartime
motorist had been foolish enough to buy an unreliable 1942
model, he was stranded, with no possibility of nding a new
replacement until the war ended.
In 1945, De Soto could claim that of all the De Soto cars
ever built, 7 out of 10 are still running. In one advertisement,
a mother was shown arriving at a school gate in her 1942 De
Soto, complete with concealed headlights. It was raining hard
and the road was slippery, but:
Buick Division, whose long-running slogan, When Better Automobiles Are Built Buick Will Build Them at last
seemed appropriate, pointed out that Buick powers the Liberator.... Shes got four Bs in her bonnets! In May, 1945 it
was the turn of the M-18 Hellcat tank. A mock newspaper cutting was shown: Buick M-18 Hellcats score in 21 days of
Steady Action. The text lauded the Armys war effort, and
pointed out the contribution that Buicks tanks had made:
Rain or shine, Mother never fails them. Neither does the family car. De Soto cars are rolling up 100,000 miles ... 200,000 ...
even more. Because in all our 17 years in business, weve had
this thought foremost in our minds: keep making a better
car.... Today, De Soto manufacturing skill is going into
bomber sections, airplane wings, guns and other war goods.
But when were making cars again ... better decide on De
Soto. Its the car thats designed to endure.
136
10. T HERE S
F ORD
IN
Y OUR F UTURE
137
A 1945 prestige advertisement showing a 1942 model. The purpose of the piece was as much to keep the marque name in the public mind as to prime the market for peacetime production (1945 campaign).
138
Above and opposite: Contrasting war-time styles. As teenagers in the 1930s, many World War II soldiers had built models of the
Napoleonic coach for the Fisher Body Craftsmans Guild competition. Nash described the war effort in unusually personal, human,
terms (Nash: February, Fisher: March, Studebaker: April, and Buick: May 1945).
140
Studebaker captures the national mood for the rst peace-time Christmas since
1940. Cars were not mentioned at all in the body copy (December 1945).
10. T HERE S
F ORD
IN
Y OUR F UTURE
141
Anticipating postwar demand. The car is a 1942 convertible, one of the most modern-looking of its year (September 1945).
mean such pleasures as an open road, a glorious day and a
bright and lively Buick.
10. T HERE S
F ORD
IN
Y OUR F UTURE
143
Above and opposite: Evolution of a successful campaign: Ford promotes 1942s style with new trim, grille, and engine in 194546.
The teaser ads, in particular, were novel and effective. (This page and opposite, upper left to right: January, September, and
November 1945 and January 1946. Opposite, lower: September and November 1946).
is not wishful thinking. When the green light is given, we will
be ready to start production plans. In the meantime, the full
resources and energies of Ford are engaged in turning out war
goods to help speed the day of nal VICTORY!
144
taking price of place and occasionally being replaced by a maroon convertible. Towards the end of the year, in a related but
distinct campaign, Fords out front with ..., the car was surrounded by proud owners while individual features were
demonstrated in separate illustrations. Cartoon demonstrators added a light touch. The overall theme continued into the
1947 model year with the slogan, Theres a ner Ford in your
future. In June, 1948, Fords rst new postwar car was announced for the 1949 model year. The slogan was extended to
Chapter 11
Lady, Relax!
It is positively uncanny how a woman senses style.... Mere beauty never deceives her ... unless the subtle scent of
her perfume ... the cut of her bob ... the curve of her brows ... unless all these things are in vogue her day is utterly
ruined.... It was men who christened Paige The Most Beautiful Car in America ... but it is women who have seen
beyond that beauty a smartness and exclusiveness that stamp Paige motor cars style leaders of the season.... Drop
into a Paige-Jewett showroom when next downtown.... Your visit will prove quite as engaging as an hour along the
Rue de la Paix.
A ride in a Ford these days [sic] is a journey in contentment.... Everything is just as you would like to have it. Many
times you will nd yourself leaning back and saying Its a
grand car to drive.... You drive relaxed in the roomy, comfortable Ford V-8 sure of its safety condent of its performance and dependability over many thousands of miles....
[T]his kind of driving adds a great deal to motoring enjoyment explains the popularity of the Ford V-8 tells why it
is the rst choice of so many women nowadays....
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146
here was typical of advertising that was aimed deliberately towards women and, indirectly, towards the men who, by purchasing the product, would provide for their safety and wellbeing. Unlike Paige in 1927, Fords copy was essentially
practical, but it was practical in a limited sense, and reassurance, rather than explanation, was considered appropriate for
the female reader.
Fisher Body, promoting its Turret Top construction in
Chevrolet guise in 1936, appealed more overtly to male protective instincts. In an advertisement headed, Just between
us Girls, safety was included more insistently in the makers
canon of desirable virtues, with an eye to the well-being of a
little girl, shown with her parents admiring the new sedan:
To this curly-haired young lady, the solid steel Turret Top
may be merely a new and more exciting place from which to
view the world. But to her parents, its the crowning glory of a
car chosen for style, for safety, for sturdiness, for comfort.
It was implied that the parents chose the car together, but their
underlying points of view differed. While Family Man looked
on mother and child indulgently, his wife, at the wheel,
beamed grateful thanks to him, with the clear implication that
he was the provider, and she the supplicant upon his responsible nature. Her motorized independence was granted, not
assumed.
Insofar as their respective roles in choosing the familys
car differed, the mans was usually portrayed in automobile
advertising as the more active, purchasing the product and
thereby ensuring his familys well-being. His wifes involvement
was largely receptive, once she had expressed her preference.
When both were shown in the car, it was the man, in most
cases, who drove.
In the 1930s, one car sufced for the average family, and
if the man had overall charge of it, his wife would nevertheless be expected to use it from time to time, and Ford was not
alone in realizing that her opinion of the automobile in question would be instrumental in its purchase.
In 1939, Buick ostensibly appealed to women in an advertisement which appeared to be written from a womans point
of view, but which was also intended to bring indirect pressure to bear on any husband by holding out the prospect of a
loyal and contented wife: She married an Angel, began the
copy above a photograph of the new sedan:
You can tell from the car she drives, she has a husband approaching perfection as nearly as any mortal can!... Hence the
Buick in the family, smart of line and brilliant of behavior ...
and comfort-cushioned for life with the soft, slow spirals of
BuiCoil Torque-Free springing. A car, in short, to delight any
woman and to thrill any man by its action and life and ability to travel.
Whether this condent statement of the sexes respective concerns was accurate or not, it was a representative account of
what copywriters, overtly or otherwise, chose to portray as
accepted wisdom.
These advertisements typied copy aimed at those sectors of the market in which men and women chose cars together for the familys use. Where the independent woman
was explicitly targeted (usually in the upper and upper-middle sectors), she was encouraged to choose a car as much for
the impression it would create among her social peers as for the
sensual enjoyment or lack of discomfort that came from
actually driving it. And in the realm of the truly upmarket automobile, the car might be chauffeur-driven, which meant
that there was little point in boring the prospective owner with
mechanical mundanities in which she would have no practical interestsuch things could safely be left to the back pages
of the catalog. In this context, it was irrelevant whether or not
women were assumed to be able to understand them.
There were, however, some striking exceptions to the
prevailing trend. Several of Plymouths ordinary-user testimonials of 1937 came from independent women. Miss C.
Eleanor Hinkley ... drove over 7,000 miles in her Plymouth in
the summer of 1936, through mountains, deserts, sandstorms. In all, shes driven 31,025 miles ... and her car has never
been touched for repairs ... is still on its original tires. Another Plymouth, used by rural nurse Margaret W. Davison of
Maryville, Montana, was Never on sick list in 166,000 miles
... goes through in all kinds of weather. Nurse Davison had
averaged over 20 miles per gallon of gas ... never had the head
off an engine!... Never yet ... has Plymouth failed me.
The purpose of these advertisements was not, in fact, to
appeal to the woman driver as such, but Plymouths decision
to cite the experiences of realistic independent women indicated that public portraiture of female motorists did not always
follow private reality. By 1937, women habitually drove high
mileages, particularly in rural areas where potential buyers
would not be impressed by metropolitan fads.
Throughout the 1930s and beyond, womenwhether or
not specically targeted as consumers retained an important, decorative role in automobile advertising across the
147
Happy is the woman who marries a responsible man, for she shall drive a new Chevrolet. Sexism was not an issue in 1936 (April
1936).
148
Plymouths female motorists were tough, realistic, and independent (April 1937).
149
150
Tire advertisements were frequently utilitarian and sometimes alarmist, but Generals were more imaginative than most (1939
campaign and February 1945).
necessarily have chosen it for himself. Show this to your husband ... when his moods just right! advised Chevrolet in
1956, beneath a photograph of a pale green and black Bel Air
Sport Coupe. If he complains about those last-minute dinners, put this next to his napkin, advised another advertisement in the series.
Thus there emerged a distinct style of feminized copy
which emphasized color and trimmings and the automobiles
potential as a fashion accessory the very preoccupations
which had hitherto been mainly conned to upmarket magazines with a female readership. In August, 1946, Studebaker
advertised its new Champion in The Ladies Home Journal:
Heres fashion on wheels that mirrors your personality as
effectively as a Bruno costume.... Its an eager-to-go, low, long
lovely melody in metal, agleam with gay, exciting color. Its
richly upholstered in soft, harmonizing fabric .... Its a dream
of a car to handle steers, stops and parks with delightful
ease and the comfort of the ride is really beyond description.... Dont miss seeing what it does to you and for you....
The car was shown alongside a painting of a woman in a fashionable Bruno tweed ensemble, with close-up drawings of her
shoes, hat, and handbag. The overall tone of such copy was
carefully devised to appeal emotionally to the female reader.
Studebakers advertisement was a mild foretaste of what was
to come in the 1950s, when women were enticed into consideration of the latest cars with plenty of exclamation marks,
scrupulous avoidance of technicalities, and frequent use of
selected words and phrases (thrilling, delightful, and utterly for example) in a variety of combinations. Though concentrated by 1955 in copy for medium-priced cars, this trend
was occasionally evident further upmarket, even in magazines
and papers with a general readership of both sexes.
Cadillac advertisements continued to be targeted principally towards men, and sometimes to the affluent couple, but
one 1952 advertisement typied its genre. The latest Sixty Special, costing $4,323 and resplendent in salmon pink and
chrome, was shown outside an elegant suburban house. The
copywriter set out to demonstrate the social potentialities of
Cadillac ownership:
Perhaps its to be a visit to a friends home ... or perhaps shes
meeting the man of the house in town ... or, again, it may be
only for the days shopping. But whatever the trip for the
151
In the spring of that year, a special-edition sedan was announced, called the Coronado. It was available only in threetone white, turquoise, and black, at a $100 premium over the
regular Fireflite, and the copy gushingly highlighted its role as
fashion accessory as much as transportation:
A fashion model was posed beside the car, her clothes carefully coordinated to the paintwork and to matching white and
turquoise interior trim.
If any doubt remained about who was the target audience, it was necessary only to compare this advertisement with
equivalent copy for the regular Fireflite, shown in two-tone
blue, on which the Coronado was based:
152
Above and opposite: An implied testimonial from a fashion designer and a luxuriously trimmed Coronado invited women into
De Soto ownership in 1955. A man was in charge of the regular Fireflite, however. (Sportsman: 1955 campaign; Coronado: May
1955; Fireflite: April 1955).
153
154
155
Spoked wheel covers, a continental kit, bumper guards, and a pillar-mounted spotlight enticed would-be sophisticates in 1956
(May 1956).
156
usually luxury versions, and suburban rather than rural locations prevailed. By 1958, luxury wagons were commonplace,
the type having lost all vestige of its austere ancestry for good.
Chevrolet Nomads, Brookwoods, and Kingswoods were photographed in fun and family leisure contexts, with mothers and children outside supermarkets and antiques shops.
Given prevailing assumptions, it was not surprising that
where women were depicted as drivers in automobile advertising, they were almost invariably seen gazing out of side windows, talking to passengers, or waving to their partners or
friends in the distance.
The archetypal male driver, by contrast, usually looked
forwards, conspicuously concentrating on the road ahead,
157
ing, and young, and were able to choose their cars without
deferring to male patronage of one kind or another. Lacking
families, they were not solely motivated by practical considerations and, being socially mobile, they were not much concerned with the admiration of suburban neighbors; the consumer saw little point in keeping up with the Joneses if she
neither knew nor cared who they were.
The diminution of male influence in the automotive
market-place also meant that, from being largely a symbol of
male dynamism, the powerful automobile could be promoted,
albeit subtly, not only as a giver of freedom but also as an element in a womans sexual equipage as it had not been, except intermittently within the highest income groups, in the
1930s. Add to these developments a growing informality in
advertisers social tableaux and a rejection by many younger
buyers of old snobberies and social habits, and it became necessary for automobile advertising, in relation to women as in
other areas, to evolve rapidly.
How far away will you have your heater control? 1946s Buick
driver smiles bravely during a move best attempted while at a
standstill (October 1946).
158
By the mid1960s, the male benefactor was in retreat as more women chose their own cars and enjoyed a measure of autonomy
(June 1966).
159
Who says its a mans world? Oldsmobiles girl would not be satised with a
dull sedan or, perhaps, with the kind of man who would choose it (April 1967).
160
it did rarely but the woman motorist unquestionably enjoyed a greater physical and mental autonomy than did her
predecessor of 1935, or even 1955.
It would be a mistake to infer from this development that
the social climate changed overnight it did not, and the
trends depicted by copywriters were not equally prevalent in
all states, or in rural, as opposed to urban, communities. A
buyers social class and level of education mattered, too. But
among those traditionalists who maintained that it was, and
should remain, a mans world, the automobile advertisers were
less and less common. A successful appeal to independent
women could have a signicant impact on an automobiles
sales.
Images of women in automobile advertising did not
change radically after 1970, and the liberation which was
Our purpose is to construct and market an automobile specially designed for everyday wear and tear ... an automobile
which will attain to a sufcient speed to satisfy the average
person without acquiring any of those breakneck velocities
which are so universally condemned; a machine which will be
admired by man, woman, and child alike for its compactness,
its simplicity, its safety, its all-round convenience and last
but not least its exceedingly reasonable price....2
161
162
Above and opposite: Practical advertising in a recessionary model year, when competition amongst the Big Three was intense
(Both ads: December 1937).
popular as a counteracting force to the perceived depersonalization of the industry through mass production. It was also,
perhaps, a cynical attempt to appeal to the small-town values
of Plymouths target market. The Plymouth name had been
chosen for the marque in 1927 because it was familiar to
American farmers through Plymouth Binder Twine, and advertising for the marque reflected the associations which the
name already held in the American mind. It was therefore perhaps not surprising that buyers of regular Chryslers and
Chrysler Imperials were not introduced to Mr. Sauerbreys
colleagues in the Corporations other plants.
Overall value for money was a nebulous characteristic.
Even disregarding the purely emotional element in a new car
purchase, priorities varied from buyer to buyer and were not
always easy to place in order. Quality, initial cost, reliability,
and renement were all desirable; in each area of the market
it was necessary to create a tailor-made combination of
virtues, and copywriters had to ensure that buyers were convinced that the best possible compromise had been achieved.
12. J USTIFYING
THE I NDULGENCE
163
discreet work on a new V-8. The rst engine was laid out in
May, 1930, and by early 1931 an experimental motor was running. It was followed by further prototypes, and once Henry
Ford had become convinced of the types worth as a replacement for the Model A after a meeting with his son Edsel in
December, 1931, the company worked frenetically to prepare
the new car for launch to the public at the beginning of April,
1932.3
The V-8 was a long way removed from earlier Fords, and
advertisements for the car traded on the companys reputation as a general provider of transport for the people, while at
the same time promoting the stylistic and technical merits of
the latest models compared with the Model A and by indirect implication the four-cylinder Model B. If Henry Ford
had once scorned V-8 engines, he now wanted to consolidate
the single obvious advantage that his new model had over the
six-cylinder Chevrolet. Light bodywork enabled the V-8 engine of little more than average power for its time, at 65
bhp to propel the new car fast and smoothly. By 1938,
streamlined V-8 sedans were shown in dramatic poses which
drew attention to the low-priced Fords resemblance to the
glamorous, middle-market Lincoln-Zephyr.
The V-8 was marketed in Europe as well as America. Ford
realized that European-assembled V-8s would occupy different areas of their markets from their American equivalents at
home. Yet within their target, upper-middle class markets in
Europe, they could still be promoted as offering better allround value for money than their competition which, in most
cases, was domestically designed and produced in small numbers by American standards. Ford could never sell its cars on
exclusivity, but it could, and did, draw consumers attention
to the economic advantages of large-scale production.
Advertising strategies were adapted accordingly by Fords
agency between 1927 and the early 1940s, N.W. Ayer & Son:
It was evident that American-made advertising and selling
methods could not be successfully transplanted to England....
The rm decided to have a British staff under an American
manager who had proved himself in the parent
organization...4
This policy was reflected in British copy for the V-8, which
was made palatable to its market without being complacent
and insular. It was largely devoid of the smugness and
difdently expressed snobberies with which many British advertisements for the V-8s competition were infused. Where social climbing was attempted, it was attempted boldly, veering
occasionally into self-parody, but never to the extent that the
virtues of the car itself were obscured. The most exaggerated
forms of this genre were reserved for the smaller Eight and
Ten models of the late 1930s, which were not sold in America.
Unlike these smaller Fords, the V-8 was never perceived
by British motorists as anything other than an American car,
164
Corporate advertising increased the likelihood that, when he traded up, the motorist would choose another General Motors
marque (June 1929).
12. J USTIFYING
THE I NDULGENCE
165
The reader was not told that the really remarkable brakes
were operated by cables, rather than the increasingly widespread hydraulic cylinders tted to Plymouths and Chevrolets
since 1928 and 1936 respectively, or that the suspension was
by transverse leaves, as tted to the Model T. Fuel vaporization
in hot weather was left unmentioned, too, though such
weather did not usually trouble British motorists for more
than a few weeks in a year.
Copy for the 1939 Model 91A de Luxe claimed value for
money, but was disingenuous:
This was certainly true of the bodywork, if not of the machinery underneath. The copy continued:
A new, streamlined 1937 Model 78 was shown outside an antiques shop in a March, 1937 advertisement:
Hunting Period Pieces, Pictures, Silver, Up and Down the
Kingdom, you could have no better car than the New Ford V8 30, whose appearance indicates your judgement of value,
whose performance is equally gratifying to amateur or expert,
every seat a front seat in restful, comfortable roominess. It
costs very little to buy, run and maintain, over a term of
years, always in prime condition.
A full-page monochrome advertisement for the equivalent sedan was almost as down-to-earth in April, 1937:
After even forty years of motoring, you still have something
to learn unless you have tried this new Ford V-8 30. You
may take its wonderful engine for granted, because of the
designers unique experience of V-8s. You expect much: You
are not disappointed. But its clutch, gear-box, steering, suspension, particularly those really remarkable brakes, have to
be personally tried before you can understand such an improvement upon those of other cars.... This Ford V-8 30
gives you multi-cylinder luxury-car motoring at a cost you
can contemplate undisturbed.... We put price last. Satisfy
yourself on every other point. Then consider the price,
Convenience of servicing apart, this was less true. The Saloon de Luxe cost 280 by March, 1939, when this advertisement appeared. Curiously, no mention was made of the Model
91As new hydraulic brakes, although much was made of Fords
production methods in a spirit of English eccentricity:
Did you know...? King Henry I of England decreed that a lawful English yard was the measure of the distance from the tip
of his nose to the end of his thumb, the arm fully extended.
His word was law, but Ford precision gauges, in hourly use at
Dagenham, measure rather more exactly, if required to a twomillionth of an inch.
166
12. J USTIFYING
THE I NDULGENCE
167
Two years later, aware that detractors considered the V8 22 a gutless wonder which lacked the performance of
the larger V-8 but which was almost as expensive to run, Ford
traded on the larger cars performance image: Sample V-8
performance! No cost! No obligation! Until you have driven
a Ford V-8, you dont know what twentieth-century motoring
can mean.... Watch the Fords go by!
Yet the 22 was not a success, selling only 9,239 copies
as a single model between June, 1936 and February, 1941, while
nearly 12,000 of the 30 were sold in four successive editions
(Models 68, 78, 81A, and 91A) between November, 1935 and
January, 1940. More compact than the American product, the
22 was still a large car by British standards, and it did not
168
American advertising for the V-8 was less fanciful than the British equivalent, reflecting the cars low-priced status and an essentially practical approach to motoring (February 1938).
12. J USTIFYING
THE I NDULGENCE
169
within the low and medium price elds, it remained dominant for many years, and only
faded once again in 194142.
The independent manufacturers, which
lacked the production resources of the Big
Three, had to try particularly hard. Hudson declared in 1934: You wont believe your ears
when you hear the price of its eight-cylinder
model. The recommendation was earnest:
With due regard for the value of each word,
Hudson believes that the following statement
cannot be successfully challenged: The new
1934 Hudson Eight will out-perform every
other eight-cylinder stock car ever built.
170
Contrasting conceptions of value from Plymouth in 1950 and 1954 (March 1950 and January 1954).
Chevrolet had been producing cars since 1911, and commanded marque loyalty that was as erce as Fords and numerically wider than that enjoyed by Plymouth. That loyalty rested
on a reputation for simplicity and reliability and, for the lowpriced eld, an element of style that was not matched by Ford
until 1932. The aesthetic component of the value-for-money
equation was largely responsible for Chevrolets ingress into
former Ford territory in the 1920s, and it was a lead which GM
fought hard to maintain. Thus, while a typical 1952 advertisement for the Chevrolet range showed ten particular features to
prove that Chevrolets were the Only Fine Cars Priced So
Low, the main illustration depicted a two-tone Bel Air hardtop rather than a stripped sedan.
Among Chevrolets cheaper models, which beneted
from the glamour of the Bel Air but which sold in greater
numbers, the clean-lined and attractive De Luxe Sport Coupe
was shown in several advertisements. Chevrolets copywriters of the late 1940s and early 1950s consistently sought to
demonstrate that the car combined all the important virtues
of high-priced cars with low actual cost. Chevrolet buyers did
not wish to feel that they were buying cars that said utility
and therefore cheapness to the world at large. The 1952 twodoor De Luxe sedan in Regal Maroon, for example, was promoted as the way to Keep Up Your Quality Standards and
Cut Down Your Motoring Costs, suggesting a regular acquaintance with quality motoring which, however improbable, flattered and reassured the low-priced car buyer.
In the anti-utilitarian climate of the 1950s, value for
money was not always claimed explicitly, but even in an atmosphere that was far less congenial to the nuts-and-bolts
school of copywriting than that of the early 1930s, car buyers
still wanted to rationalize their purchasing impulses. Plymouth
offered reassurance in 1954:
The deep satisfaction that is part of the everyday life of Plymouth owners results from a unique engineering concept. A
concept that blends beauty with safety, combines elegance
with economy, permits no compromise with mechanical excellence. No other low-price car has such a heritage, nor offers as great a measure of value.
12. J USTIFYING
value to be measured purely in terms of a cars functional
equipment, styling, and price. What had been described in
Chryslers earlier corporate advertising as engineering was
now promoted as an engineering concept, and the reader
was implicitly encouraged to form his response to the car on
the basis of how he felt about the concept, rather than what
he thought about the cars engineering, as demonstrated to him.
Thus the value of the automobile as mechanism was incorporated into, and subsumed within, its perceived value as
a bringer of emotional fulllment and satisfaction to the consumer. Ironically, while this development in Plymouths copy
style clearly indicated a recognition by the copywriter of recent developments in the way consumers were encouraged to
think about automobiles (and, in some cases, did think about
THE I NDULGENCE
171
them), the 1954 Plymouth, lacking the style of its rivals, was
not a great success. By the mid1950s, the aesthetic component
of the value-for-money equation was not only unavoidable, but
dominant.
Copywriters continued to claim that their cars offered
value during the remaining years of the decade, particularly
in relation to low-priced versions of full-size sedans, and the
success of the mischievously named Studebaker Scotsman of
195758 (from $1,795 in 1958, compared to $2,013 for a
Chevrolet Delray utility sedan) demonstrated that a stripped
sedan, if priced low enough, would nd a ready market. But
value for money, other than as a bland catchphrase, was
largely sidelined by copywriters until the arrival of the modern American compact cars in 1959.
Chapter 13
172
173
The car was shown in the bottom left-hand corner of the page,
photographed at bumper level. Gulls soared above the car,
flying with it as it sped across the ground. It was one of the
rst in a successful series of advertisements by Buicks new
In a 1937 advertisement for the regular, conventionallystyled Chrysler line, the wife of a new Chrysler owner explained the advantages of independent front suspension from
a female (and therefore subjective, non-technical) point of
view:
I think we both made up our minds when we got to the railroad tracks on Sixth Street. We braced ourselves as usual ...
but that love of a Chrysler just glided over them as if they
werent there at all. So John took up weight distribution, and
hydraulic shock absorbers and independently sprung front
wheels ... and I just asked him gently if Chrysler engineering
wasnt reputed to be the best in the industry. He said it was.
So I told him we could probably accept what everybody knew.
174
agent, Arthur Kudner, who had left Erwin, Wasey and Company in 1935 to set up his own agency and who did much to
revitalize Buicks image in the 1930s. Comfort and power, usually in euphoric combination,were the marques selling-points.
Nash consolidated a reputation for imaginative copy in
1940, promoting the sophisticated Weather Eye ventilation
system rst tted in its 1938 models. A September, 1939 advertisement was headed Night Flight and described a long winter journey: Theres magic in the air tonight. Fleecy clouds sail
high above, and your road is a ribbon of glistening moonlight.
Keen and crisp is the whistling wind. But inside your Nash,
youre sitting snug and coatless, in the never-changing June
of the Weather Eye.
The system drew fresh air into the car through a cowl
175
Rarely was so much copy expended on so small a component in this case an adjustable thermostat. Nash cars containing lightly
clad models were driven about in winter to push the point home (February 1940).
176
Seats that were chair-height so a man can sit up like a man featured in all Chrysler Corporation products in 1948 as did oldfashioned tall and bulbous styling. A new Plymouth would arrive in the spring of 1949 (September 1948).
177
178
179
180
181
Chevrolet Caprice Classic offered enough imposing spaciousness for many in an age of downsized automobiles. With
More head room ... More leg room ... More trunk room, it
was far from glamorous, and compromised with the spirit of
the decade: We made it right for the times without making
it wrong for the people. There were gas mileage gures to
prove the claim to frugality.
Moderately large, comfortable cars were still in demand,
but the copywriters who promoted them were more than a
little nervous of the increasingly hostile, Honda-infested climate. The full-size car was not yet dying, but it kept its head
down.
Chapter 14
Get More GO
From Every Gallon!
owners was drafted in, so that in March, 1938 it could still be
claimed, with a nod to objectivity, that Owners report 14 to
18 miles to the gallon under a wide variety of driving conditions. This variety, of course, might be simply in the
weather on level roads rather than in styles of driving, speeds,
or steepness of hills. Some owners also reported oil starvation,
too, but in spite of the engines questionable reliability in its
early years, the message evidently worked, as production rose
steadily after the sales hiatus suffered by everyone in 1938.
Oldsmobile did not always quote gures, but promised
that, however much gas was used, it would be well-spent: Get
more GO from every gallon! shouted a 1939 headline, in
keeping with the years value-for-money theme in advertising for the marques low-priced 60 series sedans. The years
slogan, You ought to own an Olds, combined a hint of snobbery with the suggestion that the car was a rational and sensible choice.
Studebaker capitalized on a reputation for economy in
1940:
When you travel this winter to new vacation places or old favorites, go in this smartly styled, restful riding, new 1940
Studebaker Commander. You can do so for less gasoline expense than in many lowest price cars because this Commander is powered by the same thrifty Studebaker engine that
scored an overwhelming gas economy victory over all cars in
the GilmoreYosemite Sweepstakes of 39.
182
183
The nuts and bolts school of copywriting worked well with the theme of fuel economy. This realistic illustration shows just a
single windshield wiper (1939 campaign).
184
Low gas mileage was a Studebaker preoccupation before and after the war (September 1939 and May 1949).
low, wide and handsome straight into the heart of discriminating America, but was also Americas cost-cutting luxury
car! A 1949 advertisement pointed out that the Studebakers
flight-streamed designing bars out all burdensome excess
bulk theres no squandering of gasoline. Frugality was
made palatable for the consumer by the undeniably modern
styling of the Starlight coupe shown above the copy.
For 1950, a measure of objectivity was re-introduced in
Studebakers copy. The Champion Regal De Luxe four-door
sedan with overdrive was billed as the car that convincingly
proved Studebaker gas economy in this years Mobilgas Grand
Canyon Run. The car averaged 26.551 miles per gallon to
beat 30 other cars of 16 makes in straight-out gasoline
mileage. The styling may have been only three years ahead of
its time in 1947, but Studebakers economy-biased copy was
more typical of the 1970s.
Chevrolets assurances of good gas mileage were more
typical of their period, as was the Chevrolet itself. Rather than
promote fuel consumption as a separate issue, copywriters
combined it with escapism and suggestions of technical
modernity. One 1953 advertisement was headed, How
It was assumed that readers would not be familiar with automobile jargon, and that they did not mind admitting to ignorance so that the advantages of the product could be explained simply. This was a risky ploy, as one readers helpful
185
Spelling it out. Chevrolet promised improved gas mileage and increased performance in 1953-54, although no gures were given
(August 1953 and April 1954).
guidance might appear to another as disdain for his intelligence. This approach was expressly rejected by Doyle Dane
Bernbach in advertising for the Volkswagen from 1959.
The imagined abyss between those initiated into autospeak and the ordinary consumer was bridged in another advertisement, this time for the Bel Air sedan seen at a Sunday
social event outside a town or church hall:
Frankly, what would these people really say about the new
Chevrolet? Were frank to admit it. Most people really dont
talk about cars the way the manufacturer would like them
to.... No-one up there is likely to go in for technical engineering talk about higher compression ratios resulting in increased horsepower and ner performance with outstanding
fuel economy. But that new Chevrolet owner would probably point out the same things to his friends in his own
words. Something like this, maybe: This new Chevrolets got
a lot more stuff in it. And its the easiest car on gas I ever
owned.
But one way to get him to talk about cars the way the
manufacturer would like [him] to was perhaps to tell him
Many consumers were happy to buy small cars, but others wanted the space of a large car with the fuel mileage of a
small one, and the satisfaction of these apparently contrary
goals preoccupied copywriters in the mid1970s as never before. Figures became headlines. In February, 1976, a typical
advertisement for the Chevrolet Chevelle was headed, Two
roomy Chevelles priced under $3671. 26 MPG Highway, 18
MPG City, EPA. The EPA gures could only ever be a guide,
however, and advertisers added a qualication, of which
Chevrolets form was typical: Thats nice mileage, but remember: EPA ratings are estimates. Your actual mileage will
vary depending on the type of driving you do, your driving
habits, the cars condition and available equipment. It made
for sober copy. Sandwiched between the mileage gures were
earnest descriptions of the Chevelles passenger space and reasonable rst cost.
The Dodge Aspen was another mid-sized car that tried to
be all things to all buyers. A March, 1976 advertisement reassured readers that compactness also meant style: The Aspen
has the look of a ne European road car.... The Aspen was de-
187
Big American cars, and some Australian Fords and Chryslers, were occasionally advertised in Britain in the early 1970s. They did
sell, albeit in small numbers, despite rising fuel prices and the improbability of achieving, in day-to-day driving, the kind of
mileage claimed here (August 1974).
188
Chapter 15
189
190
Power brakes lightened the task of quick, sure stopping in a 1953 Buick Roadmaster in most cases (May 1953).
15. P ADDING
AND
P REJUDICE
191
were being impaled on the tail ns of Cadillacs built as late as 1962. A child such as
nine-year-old Peggy Swan of Kensington,
Maryland in 1963did not have to hit such
a n very hard to be killed.9
There was one area in which a more robust approach would be taken, and that was
in the eld of tire design. Advertisers who
wanted to persuade new and used car buyers to change brands pulled few punches.
Do You Want to Keep Your Daughter?
asked a 1937 advertisement for Goodyear
Lifeguard tires. Accidents are no respecters of persons threatened the copy,
Your daughter ... your wife ... yourself ... all
are in equal danger of serious accident if a
tire should suddenly collapse.... The implication was clear no man who had the best
interests of his family at heart should drive
on any but the best tires; to do less would be
culpable and immoral. He would be a disgrace to his family, his church, his neighborhood; he would be known as the Father Who
Did Not Care. Pseudo-scientic diagrams,
and the assurance that Lifeguard Tires were
easily obtained and tted, offered the motorist a way out of social and moral oblivion.
In the same year, General Tires offered
the Dual 10, a tire which allowed quicker
stopping and resistance to wet road skidding
with a flexible tread that wrinkles into
squeegee-like action when you apply the
brakes. In case the reader still wondered
whether to bother changing his tires, he was
shown a picture of some children crossing a
road, who had been narrowly missed by the
large and expensive Dual 10equipped car
behind them.
Where safety was mentioned in pre-war advertising, it was usually as a facet of
For those who were willing, but unable, generally improved design (April 1936).
to buy a set of Dual 10s outright, a convento one early advertisement for the car, Riding beside the
ient payment plan was available. These aggressive advertising
driver, the front-seat occupants ... are immediately conscious
tactics which were more commonly associated with patent
of the extreme roominess, the excellent vision, and a feeling of
medicines, detergents, and life assurancewere not usually desafety and solidity. Then, too, it is a comfort to notice the soft
ployed on the motorist, as the car manufacturers, whose copy
crash pads that line car and dash. There was a padded cell
made up most automobile-related advertising, were not prointo which passengers would fall in the event of a frontal colmoting products whose absence would lead to illness, injury,
lision, rather than being impaled on a conventional dashboard.
or the death of the consumers family. Gentler strategies had
If the windshield were hit from inside, it sprang out, preventto sufce; in the absence of an effective stick with which to
ing severe head injuries.
goad the consumer, the carrot had to be made as tempting as
The Tuckers safety features received much publicity, but
possible.
as only a prototype and fty cars were completed before the new
The rst postwar car to be sold consistently on its safety
model was discontinued, the impact of Tuckers advertising
was the rear-engined Tucker, introduced in 1948. According
192
Above and opposite: Three typical advertisements from the most famous and controversial of automobile safety promotions
(Above: April 1956. Opposite: November 1955 and December 1955).
15. P ADDING
was limited. It became clear, however, that the rest of the industry was unhappy that Tucker had tried to bring the issue
to the forefront of consumers minds.
Crash padding was not conned to Tucker. In 1949,
Chrysler offered A safety feature of major importance! Front
passengers, especially children, are given new protection
against possible injury in the event of sudden stops or collisions by the new sponge-rubber Safety-Cushion [which] extends across the top part of the dash, and is upholstered in
leather to match the interior. But this description was given
in the catalog, rather than in advertising, and it did not constitute a major component of Chryslers 1949 publicity campaign. The 1951 Kaiser gathered sales with a dashboard from
Brooks Stevens which combined a new Safety-Cushion
Padded Instrument Panel with recessed instruments and control knobs, and the car also had a pop-out windshield within
its thin pillars. But fewer than 140,000 Kaisers were built that
year, and the make disappeared for good in the United States
in 1955.
Almost twenty years after Goodyear warned motorists
how easily they could lose their children, the Lifeguard name
reappeared under the aegis of J. Walter Thompson, Fords advertising agency, in the fall of 1955. The rst modern safety-
AND
P REJUDICE
193
194
Nader went on to draw attention to McNamaras testimony before a House of Representatives subcommittee in the
summer of 1956, in which he stated that seat belts had been so
much in demand that the belt manufacturers could not supply the 1,000 belts required every day. Apparently, Ford Division ofcials estimated that the safety campaign was directly
responsible for selling 200,000 Fords that would otherwise
have remained unsold, out of a model year total of 1,392,847
units.11
Naders citations were impressive, but they left several
questions unanswered. It was not clear, for instance, whether
or not the 14.4 percent of sales attributed to the campaign
could equally have been achieved by another imaginative campaign which made no claims to safety on behalf of the product. Were all sales of the safety padding achieved through public awareness of its advantages, or did its appeal lie partly in
novelty alone a novelty-value which might have been
achieved by other means? And how much of the apparent consumer interest in Lifeguard Design was generated by the advertising, and how much by dealers enthusiasm for the optional features? In how many cases could Lifeguard-equipped
cars be supplied more rapidly to customers than otherwise
identical non-equipped models? In short, how many consumers were motivated towards Ford because of the campaign,
and how many would have bought Fords in spite of it, or regardless of it?
If Ralph Nader believed that the Lifeguard campaign had
been strangled soon after birth, one of those involved at the
15. P ADDING
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P REJUDICE
195
The campaign remained a conspicuous one-off, and advertisers continued with their existing priorities. Chevrolet
drew attention to a new X-built Safety-Girder frame in 1958,
and Goodyear had long since abandoned the blood-curdling
scenarios of 1937 for an innocuous There is no more distinctive way to travel in support of the New 3-T Nylon Cord
Double Eagle. The tire was shown on a 1958 Continental
Mark III, in atmospheric soft-focus, tended by a couple in
evening dress.
As in earlier days, where safety was a side-effect of improvements introduced for reasons of styling or handling ease,
it was emphasized in otherwise conventional copy. The 1958
Oldsmobile was available with Safety Power Steering so that
the consumer could trust the wheel with the safety feel according to an advertisement which showed a pink convertible
being conducted effortlessly along a cliff-top road by a fashionable mother with her two children. It was an indication of
how much ground remained to be covered that one of the children was shown standing up on the front seat, his head only
inches away from a projecting vent window frame.
Safety continued to be attributed to a variety of engineering and styling features in the 1960s. In the roof of the
1966 Ford Thunderbird, above the windshield, was an overhead Safety Convenience Panel of control switches and warning lights. A seat belt warning light was built into the panel, but
the intention was primarily to glamorize the driving experience by association with aeronautical practice.
196
The Safety Convenience Panel of the 1966 Ford Thunderbird recalled aeronautical practice, and made the subject glamorous
(December 1965).
15. P ADDING
AND
P REJUDICE
Passive safety was rmly established in the minds of all automobile manufacturers by 1968 (October 1967).
197
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Chapter 16
This sounded more like copy for caf dcor, yet it did not come
cheap. The copy was unassuming, but Plymouth was able to
capitalize on the element of chic which percolated down
from the wooden Chrysler convertibles. For true utilitarians
there was the DeLuxe two-door, steel-bodied wagon which, at
$1,840, was $532 cheaper than the Special DeLuxe wooden
four-door. By 1951, the steel version had taken over entirely, as
the wooden wagon was offered for the last time in 1950.
But steel did not inevitably mean only the barest utility,
as Nash proved with its compact but well-nished 1950 Rambler wagon, and Plymouths 1953 two-door Savoy, costing
$2,207, was targeted upmarket: Dignity of design, quiet good
taste in styling and appointment, assure this cars welcome in
any company. It was illustrated at Long Islands Meadow
Brook Polo Club, rather than in the countryside of earlier
years, and the advertisement as a whole indicated Plymouths
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200
Frazer and De Soto, looked like the sedans on which they were
based.
Late in 1950, Frazers copywriters tried to inject some excitement into their product. In one advertisement for the
whole Frazer line, the Vagabond was trumpeted as the famous 2-cars-in-1converts in 10 seconds from luxurious 6passenger sedan to spacious carrier ... for sports or business
equipment! A later piece for the Vagabond alone called it
beautifully new as a sedan! which was true semantically even
though it had been lifted from the earlier Kaiser line. A halfhearted attempt was again made to sell it to the sportsman,
but its principal market was the estate owner or commuter,
particularly the latter.
The Vagabond was claimed to supersede conventional
wagons: ... here is the 1951 successor to the station
wagon ... truly a car built to better the best on the
road!... For merchant, farmer, technician or professional man the Vagabond serves double use in
transporting products or equipment. As a parting shot, it was claimed to be the years smartest
buy for smart people, although, in this case,
smartness had more to do with sound commercial
sense than cocktail-party credibility. The word was
usefully ambiguous.
Frazers 1951 model year ended early, when it
was decided to market all future large KaiserFrazer cars as Kaisers, with a new Traveler succeeding the Vagabond. Only about 3,000 Frazer
Vagabonds were sold; even allowing for mid-market targeting, this did not compared well with Plymouths 34,457 steel-bodied and 2,057 wooden
wagons produced in 1950. Vigorous copy and novelty alone could not revive a car that, at $2,399,
was even more expensive than Plymouths top-line
wagon.
Nor was the Vagabond helped by advertisements that were less than attractive. The new
handcrafted 1951 Frazer Vagabond was not only
nothing of the sort; it was also shown in uninspired tinted monochrome illustrations which suggested a lack of funds and, therefore, a less than
successful product. Amid a rash of V-8s from the
Big Three, the Frazers new Supersonic Engine,
a 115bhp L-head six, was comprehensively outclassed, and promises of power and the copy
styles that went with them were out of the question.
The result was novelty by default. The car was
illustrated in the hand of a craftsman, as if it were
a scale model. The motif was reminiscent of the
hand-held crystal ball with the Ford in your fuGeneral made the most of the glamour of Chryslers Town & Country ture of 194546, and was almost identical to
British artwork of 1938 for the compact Ford V-8
(December 1947).
desire to integrate the wagon into the mainstream of automobile fashion. The car was shown in a smart metallic red
rather than in the somber brown cellulose that had been adequate in 1949.
Between 1949 and 1953 Kaiser-Frazer offered Vagabond
and Traveler utility sedans which, like the early Town &
Country, aimed to offer in one package the combined advantages of sedan and station wagon. But while Chryslers priorities had been largely stylistic, the 1951 Frazer Vagabond (which
took its name from a 194950 Kaiser) was a more genuinely
practical vehicle. Often said to have pregured the hatchback
of later years, the Vagabond (and its closest American precedent, a similar De Soto of the late 1940s), were in fact much
more akin to the pre-war French commerciales which, like the
Above and right: Station wagons lost their wooden body framing
and were gradually integrated into the mainstream of automotive fashion in the early 1950s (October 1949 and August 1953).
22. The theme was original for 1951, and undoubtedly suggested that the Vagabond was a car apart. But it was also at
least ten years out of date.
By the mid1950s, the steel-bodied station wagon had
taken over from its wooden forebears, and most advertising for
the breed was conventional and unadventurous. Maturity
brought diversication, however, and styling which had
been rudimentary on the Plymouth Savoybecame more important. Luxury and sporty wagons complemented the
conventional two- and four-door utilities. The 1955 Pontiac Safari, for example, was promoted in an advertisement of almost Continental-like restraint and clarity. Pontiac creates an
entirely new type of car combining Catalina smartness and
station wagon utility, said a headline which introduced copy
and studio photographs that owed nothing to the rest of Pontiacs 1955 campaign.
Chevrolets 1954 Nomad concept car combined racy
Corvette styling with a novel, ribbed roof and raked B-pillars
that were successfully echoed in production two-door Nomads during 195557, and on the Pontiac Safari. The Nomad
was essentially a revival of the original Town & Country
theme. As that car had marked a rebellion against the utilitarian functionalism of most boxy, wooden wagons, so the
Nomad represented a deliberate move away from boxy, steel
wagons towards something more luxurious and distinctive.
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201
202
Echoing French commerciales of the 1930s, the Frazer Vagabond appealed to merchant, farmer, technician or professional man
(June 1950).
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203
the latest in modern, suburban supermarkets; Chevrolet accommodated a baseball team beautifully in the Beauville, in
keeping with the marques new, dynamic image.
Between them, Ford and Chevrolet highlighted the two
areas of modern suburban American life shopping and
recreation that would feature in most subsequent advertising for station wagons of all sizes and prices for decades afterwards. The similarities between these particular 1956 advertisements also graphically illustrate the intensity of the
competition between Ford and General Motors in every sector of the market. Direct model-for-model duplication within
specialized areas of complex product ranges became commonplace, particularly in the low-price eld, and these rivalries
would grow in the 1960s.
By 1958, the station wagon was rmly entrenched as an
integral part of Americas expanding suburban landscape and,
to remain socially acceptable, it had to become fashion-conscious. Copywriters emphasized the fun, freedom, and recreational activities that wagon ownership facilitated. The wagon
was, above all, a family car, and children gured prominently
in artwork. It was implied that the man who provided for his
family ought not to deny his wife and children the independence and convenience that ownership of a wagon could bring.
De Soto showed children playing happily in the back of
a Fireflite Explorer, nished, according to the caption, in
Wedgwood blue and pearl white with matching interior. It
was a far cry from the 1957 sedan that could flick its tail at anything on the road. Unfortunately for De Soto, the colormatched interior, heap plenty room, and convenient steps
... on the tailgate persuaded only 1,734 buyers to choose either this or the equivalent Firesweep Explorer in 1958. By 1961,
De Soto the exciting look and feel of the future was extinct.
Dodge combined suburban leisure with upmarket aspiration in copy for its similar Sierra wagon in the recessionary
market of 1958. Two couples were shown in a park with the
new car, picnic basket balanced on the open tailgate:
What the Millionaire said to the Bystander.... How much
does it cost to own a yacht like that? a millionaire sportsman
was asked about his 200-foot luxury vessel. His answer was
simple: If you have to think about costs, you shouldnt own
one.... Now maybe you have that attitude about a SweptWing 58 4-door station wagon. Certainly this land yacht
costs more [$3,354] than other body styles.... But heres a new
way to look at the cost: If you divide the purchase price by the
number of times youll use this wagon, it may be the least expensive car you could buy. Because, you see, youll use it for
everything: Its that great.
204
In 1956, Ford and Chevrolet competed head-on in an expanding sector of the market (February and May 1956).
The idea was not conned to Chevrolet, or even to General Motors, and a wrap-around liftgate had appeared on
American Fords in 1957. Surprisingly, a similar wrap-around
rear window had also been seen in 1956, on another English
prototype by Abbott of Farnham, called the Frensham (after
a nearby village). Abbott built it onto the rear of a Ford Zephyr
Mk II before opting to adapt its existing Farnham conversion, with a side-opening tailgate, for that car; while Britains
Rootes Group, always alert to American influences, tted a
roll-down tailgate window, in the style of an early1950s
Chrysler Town & Country, to its Humber Hawk Mk VI Estate Car of late 1955.
For 1959, Chevrolets Brookwood was either a four-door
or a two-door. The car thats wanted for all its worth could
hold everybody and his brother according to copy for the
two-door. The car was shown in a suburban driveway; a young
mother sat on the wagons open tailgate, reading to a toddler
as other children played in a paddling pool. According to another advertisement, a four-door Nomad was the Handiest
helper a family ever had.... All ve 59 Chevrolet wagons are as
beautifully at ease with a delicate bit of greenery as they are
with a rough-and-tumble cargo of kids.
By 1960, the station wagon market had expanded enough
to allow Chrysler, in its corporate advertising, to offer 27
wagons built with families in mind. The Corporation ran
several advertisements for its wagon range; in another, it was
claimed that The 1960 wagons from Chrysler Corporation
put space in its place inside, not out.... They give you more
room inside than ever before, yet t in the same parking space
as last years models. In another piece, Chrysler explained
that the Corporations wagons were built by people who
know what parents are up against, and promised that in a
new Dodge, Plymouth, or Chrysler, Even the kids seem quieter.
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A dying marque offered the exciting look and feel of the future in 1958 (March 1958).
205
206
Classical station-wagon advertising from Chevrolet in 1959. With sharp ns and corners everywhere, this was not the safest place
to play (July 1959).
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207
One of a series of Chrysler Corporation advertisements from 1960. The Valiant, in particular, was distinctively styled (April 1960).
steel Fords and Mercurys from the early 1950s onwards, and
to a handful of prestigious Cadillac conversions by Hess &
Eisenhardt in 195556; it also enjoyed widespread popularity
on other marques in the 1960s. During its transitional year of
1949, Chevrolet replaced the wooden upper body framing of
its Styleline DeLuxe wagon with steel that was carefully shaped
and painted to look almost identical to the original wood. The
price was unchanged.
A 1964 advertisement for the Mercury Colony Park,
headed, Imagine calling anything as elegant as this a wagon,
typied the trend. The car was shown outside a fashionable
apartment at night, where warm, mahogany-like paneling
gave it a distinctive appearance. The idea was even used by
Ford of Britain, at rst with modest strakes on the flanks of its
small 1955 Squire wagon, and then with the full Di-Noc treatment on the sides and tailgate of the 1963 Consul Cortina
Super Estate Car. But what was elegant and sophisticated to the
American motorist was vulgar in Britain, not least because
mock-wood trim looked fussier on a small car than on a large
one, and this version of the Cortina was quickly abandoned.
208
Mercury and Chrysler offered mock-wood paneled luxury wagons in the 1960s. A Mercury Colony Park and Chrysler Town & Country are shown here (April 1964 and April 1968).
similarly nished full-size Dodge Monaco, and even the less exalted 1967 Chevrolet Chevelle Concours Custom Wagon with
a look of hand-rubbed walnut panels, and Dodges mid-size
contender, the Coronet 500, indicated by their fake-wood trim
a loyalty to big car priorities.
Comfort and novelties dominated copy for the majority
of station wagons in the late 1960s. The 1965 Chevrolet Impala
offered an under-floor stowage compartment, together with
comfort-oriented suspension: Some bumps get through
Chevrolets new suspension. But when a bump gets through
those 4 double-acting shock absorbers, 4 coil springs, 1 GirderGuard frame and over 50 rubber shock cushioners, you must
be off the road. The smaller 1965 Chevelle included a more
modest improved suspension system incorporating a softer
coil spring at each wheel to take care of the rough spots.
In the mid to late1960s, Ford chased Chevrolet by introducing a number of new models to cater to expanding specialty sectors, and several new features in its regular models.
Many were highlighted in the highly successful Ford has a
better idea campaign. Among the most noteworthy of the
TO
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Chevrolets Impala was a far cry from the utilitarian wagons of the 1940s (March 1965).
209
210
Fords better idea campaign of the late 1960s included an advertisement highlighting the two-way tailgates of Ford and Mercury
wagons (March 1967).
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211
Modest precursors to the SUVs of later years. Of the two, the Jeep was the better known and more car-like, while copy for the
Travelall, which was visibly related to Internationals light trucks, recreated the practical flavor of much 1930s advertising (April
and June 1964).
new ideas was a two-way tailgate promoted in a 1967 advertisement in the series which showed a Ford wagon: Exclusive! Only Ford and Mercury wagons have it. Use the handle on the side, it opens like a door. Use the handle in the
middle, it operates as a tailgate. The idea was well received and
was soon adopted elsewhere.
In 1966, Ford showed a wooden-bodied 1946 Station
Wagon (Classic) with a modern Country Squire (Son of
Classic) and reminded car buyers that it had been a pioneer:
Since 1929, when Ford invented the mass-produced station
wagon, Ford wagons have been the standard of quality ... the
prime innovators year after year.... Even apart from the unique
Magic Doorgate (swings down for cargo, swings open for people), these 66 Fords are classics. Best-selling. Best of Breed!
Other innovations included the multi-window roofs of the
Buick Skylark Sports Wagon and Oldsmobiles Vista-Cruiser,
the latter promoted as All new from the top down in 1964 and
in 1965 as a family-room-on-wheels with a New skys-thelimit look in station wagons! Brooks Stevens Studebaker
212
Plymouth combined small-car dimensions with big-car styling in the compact Volar wagon. Its poor build quality soon had
Americans cursing, however (December 1977).
t7
This was trying hard, and one sensed a copywriter resenting the need to mention looks when the car itself was so
useful. But it did have two-tone blue and white paint. In another piece the Travelall was, like Oldsmobiles Vista-Cruiser,
a Family room on wheels.... Mom, Dad, seven kids ... and the
family poochplus a load of camping gearcan ride in comfort.... You can get in without twisting yourself up like a
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213
Chapter 17
Back to Basics
to offer more in Beauty, Custom Luxury, Economy and Ease
of Handling than ever before! It was cannily introduced in
station wagon form and as a convertible, which gave all the
thrill of the open car with the comfort and safety of a sedan,
thanks to unitary construction and xed roof rails in the style
of West Germanys Opel Olympia.
The Hudson Jet was conceptually less radical than the
Rambler, but it was a car that squandered its makers limited
resources. While undoubtedly practical, it was made available
only as a two-door or four-door sedan. In England, The Autocar, testing a four-door in July, 1953, found it in many ways
a car with a European character. It is trim and compact, has
good performance, and is well nished. Few were sold in
Britain, or in the rest of Europe, although it was enthusiastically advertised in Italy. Crucially, however, it lacked the novelty and attractive appearance of the Rambler; it was altogether
too rational for the American market of its period, and was
sold for only two model years, during 195354.
Kaisers Henry J (named after Henry J. Kaiser) was a
slightly smaller car than the Hudson Jet but, unlike the Hudson, it showed no sign of having been influenced by European
thought and had a character quite different from European
cars of similar overall dimensions according to The Autocar,
which tested an example in December, 1951. The Henry J suffered in its home market from being too utilitarian, with little compensating appeal to the motoring enthusiast. Trumpeted in 1951 as the most important new car in America,
the car for today! and Americas smartest new car! it
achieved no lasting success. Its rst model year, 1951, was easily its best, with just under 82,000 sales; eventually just over
130,300 were produced overall. Like the Hudson Jet, it did not
survive beyond 1954. It had no successor, although a modied
version was badged and sold as the Allstate through Sears department stores during 195253. This venture was an even
214
17. B ACK
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216
17. B ACK
namewhich blended Corvette with Bel Air and derived
from a 1954 Corvette fastback show car the air-cooled
Chevrolet Corvair was sold from the outset as an automobile
for the enthusiast, as in its rst model year, 1960:
In a Corvair even a ho-hum trip through town can be a happy
experience.... Its a kind of challenge to your Corvairs lighthearted handling and nimble reflexes ... youll get a real boot
out of driving this car ... we know why youll really want this
car. Just drive one and youll know too.
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217
and elsewhere, was the rst stage in the subdivision of the new
car market which continued, with ever-increasing elaboration, throughout the 1960s and 1970s. Advertisers increasingly
placed different models in their own market niches. Blanket
coverage of a price eld with several versions of one basic
product was no longer possible as it had been in the 1950s.
Chryslers 1960 Valiant was less obviously a utilitarian
compact than the Falcon and Corvair. Conventionally engineered for the most part, it was a car which, in its early years,
sought to imitate the stylistic flamboyance of larger models
as far as its size and price would allow. Ironically, when the
Falcon and Corvair grew larger in the mid1960s (ultimately
to be undertaken by new compacts and subcompacts), the
Valiant was advertised in 1967 as the rational car par excellence, which had remained true to its compact credentials:
Compact cars sure were a good idea. Valiant still is. In case
youve forgotten, the original idea was to skip the doodads
and concentrate on the most car for the least money possible.
But compacts have been getting chromier and less economic
lately even the foreign economy jobs. Meanwhile, Valiant
Chevrolet returned to the conventional fold with a direct Falcon competitor, the Chevy II, in 1962 (July 1962).
218
Above and opposite: Worthy virtue at its worthiest: Chrysler took on the imports in 1967 with this essay in automotive philosophy (June 1967).
17. B ACK
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219
220
Mildly humorous, anti-obsolescent advertising for the 1971 Chevrolet Vega. Early versions were overweight, overpriced, and unreliable, but the car was eventually improved (July 1970 and July 1971).
stuck to its guns. Which is why its percentage of repeat owners is highest of any American compact. And its depreciation
rate is among the very lowest.
17. B ACK
change it for at least four years. The piece was headed,
Chevys new little car: If you like the 1971, youll like the
1975, and went on to mention the cars specication and practical features but only in outline as Naturally, all these
things are ads in themselves, so stay tuned to this magazine.
A year later, the Vega had become established, and a more
conventional advertisement introduced the Vega Kammback:
The Vega Kammback wagon is three things. Its a Vega. Its a
Kammback. And its a wagon. Kammback was not just
another fancy word. It refers to the aerodynamic shape of our
little wagon. The housewife, who was the target market, was
promised that while its no giant, itll easily hold plenty of
groceries and rose bushes and antiques and cub scouts, if not
all at the same time.
It was not easy to inject excitement into ownership of a
subcompact station wagon, but an overhead-cam aluminum
engine, front disc brakes, front bucket seats and lots lots more
combined with the Kammback name to give it a hint of
quasiEuropean sophistication. No hint was given in advertisements of the problems which had beset the Vega from the
outset. Early models were heavier, more expensive, and less
well-equipped than originally intended, and the aluminum
engine was prone to oil leaks and overheating. Factory strikes,
bad publicity, and competition from the Ford Pinto, Volkswagen, Datsun, and Toyota meant that it was only in 1974 that
the car started to compete more strongly against its opposition
before falling back in 1975. Imaginative advertising had not
saved it, and disillusioned buyers of early models, having given
the American product one last chance before turning to imports, deserted it. The Vega name was discontinued at the end
of 1977.
The Ford Pinto, by contrast, was advertised as a simple
car in 1972, with a dose of nostalgia under a picture of a Model
T, and an eye to the imports bought in haste by economyminded motorists who later struggled with inaccessible engines and metric bolt sizes that their spanners would not t:
If you nd yourself staring whenever you see a Model T go
by, we dont blame you.... It was simple. It was tough. And if
something went wrong, you could probably x it with a screwdriver and a pair of pliers. Pinto has many of those same qualities. Which is good to know if youre the kind of person who
likes cars, and likes to work on them. Pinto is the kind of car
you can work on, without having to be some kind of master
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221
Yet the typical American compact still remained appreciably larger than the average European sedan a fact highlighted by comparing American and British advertisements
for the 1965 Rambler Classic 770 sedan. This car was promoted in one of AMCs Love Letters as dependable transportation with the low mileage costs essential to my business, according to Carl L. Klocker, who, true to his name,
drove about 50,000 miles a year and who, with his wife, had
owned thirteen Ramblers. For the British market, the same
car, advertised in upmarket magazines in August, 1965 with
the same illustration that had graced American copy, was described as amongst the most sought after prestige vehicles
today which would be elegantly at home in the most distinguished company.
The Classic 770 cost a middling $2,436 in its home country but, as a specialty import from Canada, it was expensive for
Britons at 1,719 from Rambler Motors (AMC) Ltd. in London. For the time being, America imported many more British
sports cars than Britons bought Ramblers, even if the Rambler
was among the most popular non-sporting American cars in
Britain. In the 1970s, Japanese imports would outnumber
both.
Chapter 18
In the 1930s, America imported almost no cars, and exported hundreds of thousands. In 1938, for example, the
United States and Canada exported 161,612 and 40,284 cars
respectively, representing eight percent and 33 percent of those
countries annual production. But in 1953 American manufacturers exported only three percent of their production with
Canada exporting eight percent, which amounted to 7,153 and
12,307 fewer cars than 1938s export totals. Yet the world market was expanding rapidly. This decline was only partly accounted for by Americas status as a creditor nation at the end
of World War II. By 1980, American exports in relation to
world production were negligible, and domestic automobile
manufacturers were ghting for survival against a threepronged attack from imported luxury, sports, and economy
cars. From being a world provider, America gradually ceased
to provide even for all of her own needs and, from the early
1970s, increasing numbers of imported Japanese cars made up
the decit.
In the 1950s, the American automobile became a more
and more specialized product, suitable for the wide, flat highways of its home country, but inappropriate for the rugged
colonial conditions in which pre-war Chevrolets and Plymouths had survived for decades. Electrical complexity and
low ground clearance did not make a car easy to repair with
minimal tools, or suitable for use on unmade roads and isolated farms. A smashed double-curved panoramic windshield
could not be repaired by the local glass-cutter with the aid of
some putty. Livestock and machinery were not easily carried
in a hardtop sedan body less than ve feet high.
Britains progress was in the opposite direction. Forsaking small, underpowered, and fragile designs that many colonial Britons had deserted in the 1930s for the rugged American product, the British automobile industry gradually usurped
Americas former role as the worlds provider, exporting
Few solo motor trips can have had such sweeping economic
effects. Here was a convincing demonstration that British cars
could perform just as successfully over the difcult Indian
terrain as the larger American automobiles generally in use
there. This lesson has been remembered to this day and India
is now one of the worlds best customers for British cars.19
222
Given that Crosley, who produced the only comparable domestic sedans and wagons, had expired following a merger with General Tire and Rubber in mid1952, Nufelds claim could be condently made. The
MG developed a niche in the early postwar years, including among returning servicemen, and its TD was
depicted as a symbol of youth, fun, and vigor by
Coca-Cola in its advertising.
On the other hand, America developed no lasting affection for the Morris Minor, and even enthusiastic Anglophiles who were well disposed towards
what appeared little more than a miniature utility car
to most Americans wrote to British motoring papers
to complain that it was too slow for American conditions. Sales declined from over 2,000 in 1952 to fewer
than 500 in 1956, before rising, when the car gained
a new engine, to a peak of nearly 15,000 in 1959 20 on
the crest of an import boom. Imported by Hambro
Automotive Corporation, it sold for $1,495. Buyers
were smart to be curious about ... Morris 1000 ...
Now, more than ever, your biggest small car buy!
But sales declined rapidly after 1960, and, apart from
a modest, fleeting revival in the late 1960s, enthusiasm for the Minor was largely conned thereafter to
automobile hobbyists. With the arrival of the inexpensive American compacts, imported miniatures (as
opposed to luxury and sports cars) suffered stiff
competition. Annual import sales had risen from
approximately 27,000 in 1952 to about 100,000 in
1956 and more than 600,000 in 1959, before falling
by 45 percent to 1962s low point of fewer than
340,000.
One imported small car that did give Detroit
223
The dream car for car-haters. Doyle Dane Bernbach made the most of a
unique product in a long-running campaign for Volkswagen in the 1960s.
Advertisements in the series became instant collectors items (October
1963).
224
Volkswagen deliberately rejected the conventional advertising techniques suggested by other agencies: Car ads are all
full of mansions, horses, surf, mountains, sunsets, chiseled
chins, chic women, and caviar anything but facts, said one
art director whose agency failed to win the account.24 Bernbachs view was clear:
Cleverness for the sake of cleverness is the worst thing in the
agency business. When an agency gets preoccupied with the
techniques of advertising, these get in the way of the message.... Theres a feel and tone to a page. And these too were
used in the VW ads to convey honesty. The layouts are utterly
simple and plain and clean, the type classic and unadorned,
the copy style factual and straightforward: subject, verb, object.... Weve had ve writers on the account and I defy anyone to tell the difference in Volkswagen copy over the years.25
225
226
The Opel Rekord and its British equivalent, the Vauxhall Victor, both featured toned-down American styling, and were sold by
Buick and Pontiac dealers respectively (1959 campaign).
227
228
229
in a note at the end of the copy which challenged those diehards who scorned the debate by insisting that all accident injuries were caused by drivers mistakes: In the recent furore
over safety standards some spokesmen have pointed out that
most accidents are caused by driver error. So? Is that an offense
punishable by hurt or worse? And what of the innocents who
arent driving?
Occasionally, public awareness could backre on importers. The Renault Dauphine was the second-place import
behind Volkswagen in the late 1950s, and was promoted in
light-hearted, pun-strewn copy that made much of its nationality. It was trs agrable ... confortable ... manoevrable ...
formidable ... budget-able in one piece which showed a
Dauphine and a fashionable mother and children with their
A white elephant, but a safe one. Rover capitalized on public disquiet about
the safety of American automobiles a year after Ralph Nader published
Unsafe at Any Speed (November 1966).
230
Once bitten, twice shy. The horse was a good deal more reliable and better-handling than an early Dauphine and, for most import
fanciers, that was the point. Apologies, photographs of engine parts and half-hearted imitation of VWs iconoclasm by the Gilbert
Advertising Agency did little for the Dauphines successor (November 1966 and November 1969).
231
This famous theme was used by BMW on both sides of the Atlantic. Such direct thematic transplants were rarely successful, but
BMWs campaign was an exception, and is well remembered today (June 1968).
232
Surprisingly conventional advertising for a car that was too different for most consumers. Only a few thousand a year were sold
in the United States before Citron withdrew it in 1972 when safety and emissions legislation threatened (March 1967).
233
Sold on the back of the successful 356, this rear-engined Porsche was not intended to appeal to mainstream automobile buyers,
and consequently prospered within its limited, affluent market (November 1966).
234
In the United States an MGB was not as not nearly as fast, relative to the cars around it, as in its home country, so American advertising in magazines such as Time, Newsweek, and Scientic American concentrated on its distinctiveness rather than on speed
(May 1971).
235
features followed, and concluded with the slogan, Were quality oriented. In 1971, an advertisement for the smaller Corolla
listed 39 features, ranging from thick, wall-to-wall nylon carpeting and coat hooks via a 30-foot turning circle to up
to 28 miles a gallon which, if not remarkable, was better than
an average domestic American small car and competitive with
the Volkswagen.
The emphasis, in America as in other export markets, remained on the Corollas equipment for the money, which, at
$1,798, was substantially less than the $2,090 that bought the
cheapest Chevrolet Vega. By 1972, Toyotas range included
Corollas and a new Corona Mark II hardtop coupe, the top
of the Toyota line for the American market and the most
comfortable. With leather-like padding. Reclining bucket
seats.... All kinds of luxurious things. And all standard. Then
there was the Celica ST: At rst glance, [it] might come off as
a rich mans sports car. Thats the nice thing about it. However,
in real life, its an economy car. Thats the nice thing about
it.... A high revving overhead cam engine, tachometer (redline at 6300 rpm), and front disc brakes. Even an AM radio.
Standard. All this and more for $2848. Thats the nice thing
about it. Advertising for the new Carina of 1972 stressed its
makers durability program: It might be new to you but weve
been living with it a long time. We froze, drenched, buffeted,
skidded and crash-tested the Carina prototypes without
mercy. So just in case you dont show yours much mercy, itll
be better prepared.
By 1976, Toyota had established a reputation for build
quality combined with value for money and, within its price
class, an element of style. Even if relatively few of Toyotas exciting S800 and 2000 sports cars had been sold, they had injected a hint of glamour into the latest sedans and station wagons while demonstrating a mastery of modern automotive
technologies.
An October, 1976 advertisement for the Toyota Corona
wagon was typical of the increasingly sophisticated copy that
accompanied consolidation within a growing market. The
wagon that thinks its a sedan included mock-wood paneling and a chrome-plated roof rack for the American market:
The outside looks like a sporty wagon. The inside rides like
our quality sedan. A quality wagon with sedan comfort. You
got it. The Toyota Corona Wagon.
Gas mileage gures were given prominence, and there
was a photograph of a metallic pink car set against a lilac background, with the rest of the page a metallic greyish-blue on
which headlines were white and the copy in black. The effect
was one of parody, yet advertising history had shown that
clever parodies often sold cars. Toyotas copywriters consistently underpinned the chrome and lilac with assurances of
value for money, but utilitarian values were never thrust at
the consumer. Toyota realized early on that utility had to be
made palatable to its market.
Honda, always something of a maverick in design, did
237
What increasing numbers of Americans were coming to by 1976 the Honda Civic (March 1976).
not attempt to imitate American styling with the Civic. It became one of the best-known Japanese imports, emblematic of
the changing car market, and was sold in 1976 on the twin
merits of fuel economy and low price: The 1976 Honda
Civics.... We can explain how we did it in two words: brilliant
engineering. A hint of social responsibility was given in the
slogan, Honda Civic. What the world is coming to, which
taunted automotive philistines at a time when young Americans particularly young professionals whose fathers had
revered the names of Cadillac and Continentaldeserted fulland mid-size sedans for tiny hatchbacks.
Many of those professionals were women, and a 1974 advertisement was headlined with a mock-quotation: Women
only drive automatic transmissions. The copy continued:
Some car manufacturers actually believe women buy cars for
different reasons than men do. So they build a womans car.
Oversized, hopelessly automatic and dull. Honda offered a
stick shift with an astonishing amount of zip.... Or, if you prefer, Hondamatic. Its a semi-automatic transmission that gives
you convenience, but doesnt rob you of involvement. Neither one is a womans car. Were they serious? Certainly serious enough to feel that they had to pretend, which was arguably progress of a kind.
By 1977, executives had begun to discard Buicks and Lincolns for imported luxury cars, among them BMW, billed as
one of the few luxury sedans in the world that wouldnt be
laughed off the Nrburgring. It appeared that affluent Americans no longer wanted sports cars with sedan-like handling
and ride, but preferred sedans that handled like sports cars
while also offering, as BMW put it, all the luxury one could
sanely require.
BMW made no secret of its contempt for the old-style
American luxury cruiser and, by implication, for those who
liked it. To back up its claims, there was a quote from Motor
Opposite: Datsun and Toyota headed the Japanese sub-compact invasion in the early 1970s with astute marketing. The fuel crisis
helped, too (1200 Coupe and Corona: October 1970; Corolla: July 1971; Celica: June 1972).
238
In the late 1970s, even Ford tacitly acknowledged that many Americans aspired to foreign car ownership but should anyone unable
to see the differences between a Granada and a Mercedes-Benz have been behind the wheel of any car? (December 1977).
239
surface will continue to widen and spread with an ever-increasing sphere of influence. By the middle of the present
century, I anticipate that we shall have begun consciously to
achieve that complete mastery of the machine which is to-day
a more or less unconscious goal. By that time, it will be one of
the profoundest facts of our existence. It will make for our
greater peace and contentment and yield not only purely
physical but aesthetic and spiritual satisfaction.1
240
O VERVIEW
AND
C ONCLUSION
241
ternational (formerly known as the Stanford Research Institute), in Northern California. The world according to VALS is
simple. There are essentially ve basic groups of citizens in
this nation Belongers, Emulators, Emulator-Achievers, Societally Conscious Achievers, and the Need-Directed. Each
segment of VALSociety is driven by its own special
demons....4
242
O VERVIEW
AND
So was nostalgia, 1953 Nash style, though by 1993 few motorists yearned for Nashs boyhood dream, a Stutz Bearcat.
Down-to-earth, feature-oriented copy dominated 1993
advertising for Chrysler Corporations mid-market cab-forward sedan, the Dodge Intrepid, and in successive advertisements favorable citations from the motoring papers were
arranged around photographs of the car. There were semitechnical diagrams of safety features, as in 1939.
Ford, too, concentrated on features in advertising for the
front-wheel-drive Taurus, one of the rst of the new generation of streamlined cars: At Ford, quality, design and safety
are at the top of our list. The car was shown in a moody,
beach-at-sundown photograph, itself no novelty. Copy for the
similar Mercury Sable explicitly reminded buyers who it was
that had been rst with the new look: It Forced Other Car
Makers Into The Copier Business.
Functionalism made a strong return in areas of the market where American cars competed head-on with imports.
General Motors Geo Prism, the Toyota-based product of a
marque created in co-operation with Japanese manufacturers, and aimed at buyers who might otherwise opt for small
Japanese cars imported directly under their own names, was
sold on its common-sense features and after-sale warranty.
GM returned to an old theme with the Saturn, its other
small car contender, which was advertised to young, valueconscious buyers, and young women in particular. The car
was promoted in a series of contented-ordinary-user testimonials from active, extrovert owners, such as Dorsey-Gay
Howser, a solo white-water canoeist and Suzanne Stehlik,
a property tax analyst who bought a Saturn because she didnt
have enough fun in her life. (Her hobbies were sky-diving,
scuba-diving, and skiing.) Saturns women were described by
reference to their occupations, rather than in relation to their
husbands, boyfriends, social sets, or families. Above all, they
were independent. Plymouths Miss C. Eleanor Hinkley of
1937 would have been proud.
Another advertisement showed Barry and Cynthia Nelson who, discouraged by a fruitless search for their ideal car,
dropped into a Saturn showroom and were bowled over by
the Saturn: Ive never been a joiner, said Barry Nelson at the
end of the copy, Im not into any clubs or anything. But this
you know, I wave at every Saturn that goes by. It feels like were
related or something. And the weird thing is all I did was
buy a car. In real life, early Saturn buyers proved highly enthusiastic about the brand and keen to spread the word. A survey found that more than fty percent of them would otherwise have bought Japanese cars.
If Geo and Saturn were aimed at specic markets which
the Japanese were targeting with ever more sophisticated
model ranges, Oldsmobiles 1993 advertising gave the impression that it was aimed at everybody. One single-page advertisement for the compact Achieva sedan carried ten testimonials
from the kind of solid citizens favored by Rambler in the
C ONCLUSION
1960s. They ranged from a homemaker via an aerospace
technician, a store manager, and a retired military who was
really impressed with the Achieva. It was the rst American
car Ive seen in a long time Id actually consider buying.
Oldsmobile did not say whether he actually bought it. Similar uncertainty was apparent in an advertisement for the 88
Sedan: Well, maybe theres a way of being traditional thats not
so ... um, traditional, if you know what I mean.
But why should the reader bother to work out what the
copywriter or the mythical inarticulate car buyer means?
The difculty with copy that tried to sound like real people
was that when it failed it inevitably sounded articial, yet when
it succeeded it so easily made the people sound half-witted,
as the rhythms of private conversation collided embarrassingly with the public, impersonal role of an advertisement.
Understated escapism was chosen for the Cutlass
Supreme Convertible The breeze in my face. The wind in
my hair. And I havent even started the car. The would-be
escapist was offered a hint of the old dream in the pay-off line:
And the feeling that youre as much a part of the universe as
you are part of the road. No mention was made of the merits of the product itself in any of these pieces, and copywriters were no more unanimous in their preferences for factual
or inspirational copy in the early 1990s than at the beginning
of the modern period.
Buick alternated between several well-tried themes, including safety (Years from now everyone will offer this much
side-impact protection) with the Regal Sedan, snobbery
(Leave the sticker on and show everyone how smart you are.
Or take it off and let them think you paid thousands more)
with the LeSabre, quality (Buick quality has never been so
attractive. Or so affordable) in a Skylark Custom and the
promise of easy payment for a luxury model (If youre convinced money cant buy happiness ... consider leasing it) for
the buyer of a Park Avenue. The last, in particular, reflected the
new realism that had inltrated the automotive dream. In
1963, no copywriter would have suggested, even in jest, that
money could not buy happiness.
Visual techniques and layouts changed surprisingly little
between the mid1960s and the 1990s. Photography was universal in 1993 as it had been for twenty years or so, and backdrops were familiar. Neutral backgrounds prevailed in advertisements for mid-market automobiles, and realistic, everyday
scenes were used for inexpensive cars. Moody, lakeside shots
appeared with escapist copy, and to suggest sophistication,
just as they had for Ford Thunderbirds over two decades from
1959. Buick showed a Park Avenue sedan in a snow-covered
eld, beside a lake, its owners dressed in winter clothes, replicating a Nash advertisement of 1940.
Of the themes which survived into the 1990s, the most
robust seem to be those which concentrated on the functional
virtues of the new car, whether by describing features, gleefully
showing up the opposition, or citing ordinary users of the
O VERVIEW
AND
C ONCLUSION
243
244
O VERVIEW
AND
in a period of rising gas prices and celebrity-endorsed hybrids, the Detroit Threenow too small, compared to Toyota, easily to be called the Big Three adapted old escapist
themes for a new market. SUVs were shown in macho-metallic shades of silver, grey, and black against rugged backdrops
of urban concrete, industrial girders, cliff faces, shorelines,
and deserts. Often a grey or beige plastic-and-leather interior
was photographed close-up with countryside visible outside
the cars windows. Gives a whole new meaning to cabin in
the woods, announced a headline for the Ford Expedition.
We have brains for rocks, declared anotherperhaps riskily
in a changing automotive climatefor the smaller Ford Escape.
Its That Big promised DaimlerChrysler for the Dodge Ram
Mega Cab. A standard shot of its grey interior, with ice-covered mountains behind, was made gently humorous by adding
brown leather footstools between the front and rear seats.
Hummers orange backgrounds and steel-grey cars were
among the most distinctive: Arrive fashionably said one optimistic 2006 caption for the H3, cleverly implying performance with an omitted late; while Nano-Hummer as another caption appealed to technophiles. The Jeep Commander
Overland was shown outside a restaurant, and a double-page
spread from Nissan showed its Armada in an expensive-looking residential street at night and a Pathnder with bicycles on
its roof on a desert road. Choices. Since birth, these identical twins have dressed the same and enjoyed the same activities until now said the copy about their owners in a variation of the two lives in one theme used by many SUV
advertisers around the world.
The most difcult SUVs to advertise were the largest. Domestic copywriters often allied blatant ostentation to
unspecied American values and hoped for the best, hoping
too that gas prices would soon come down again. Even the
windshield washer fluid is hot said Cadillac of its Escalade,
which promised 403 HP, 417 lbft of torque. Unsurpassed
highway fuel economy in its class [based on EPA estimated 19
mpg and 2006 GM Large Luxury Utility Segment]. 060 in
6.5 seconds. 22 chrome wheels available. It was in a payoff line used for other GM marques as well Nicely
equipped at $60,485. Cadillacs slogan, Life. Liberty. And
the Pursuit, was not one for any reader unsure about what
made him happy. The cheaper ($45,940) Cadillac SRX
Crossover appealed to a wider audience: It doesnt scream
soccer Mom. It just screams.
The 2007 Chrysler Aspen, meanwhile, offered a lot more
bling for your buck, and the Inniti FX45 appealed to the determined extrovert: Dont just make the statement; scream
it .... Move it. They look up. Not at you. But to you. If not
you, then who? Being that brave, being that bold, takes something. Its the recognition of your own greatness. Your own
power. And once you see it, all that is left to be done, is unleash
it.... Lincolns self-absorption was less frenzied for the 2007
Navigator, Mk X, and Mk Z: Once, there was no road where
C ONCLUSION
I wanted to go. So I made my own. And I havent looked back
ever since. My dream is to carve my own path. I was never
one to follow maps. Lincoln. Reach Higher.... Lifes calling.
Where to next?
The copywriter-as-therapist could be either booster, as for
Lincoln, or consoler, as in an appeal to the mainly female audience for the convertible Volkswagen Beetle. A dozen new
Beetles in red, green, and blue were seen from above in plastic bubbles on a silver card: Proven effective against negativity said the only copy line. Dare to be happy. This was a
striking example of a growing trendthe arresting analogy or
unexpected juxtaposition, in which the car was seen in terms
of, or took the place of, something unconnected with automobiles or motoring.
Examples were legion. In 2006, Volkswagen showed its
Rabbit RTS, or Rabbit Transit System, at the top of a map
set in a steel frame against white tiles, subway style. The aerial city view was overprinted with a green route and destinations such as Leather Emporium and Hair and Makeup
Supply Shop. The starting point was a bohemian loft, the
destination a heavy-metal karaoke. Saab announced a Jet Set
Sweepstakes competition with replica airline tickets attached
to a conventional advertisement headlined, Join the Jet Set.
Toyota challenged Fader readers to Scratch off and nd two
of the same on a small card page containing multiple stratchcard images of its Scion hatchback. The reverse side showed
a hand-decorated car with the caption, Create one of a kind.
Jeep depicted a 2007 Wrangler mounted in a wooden frame as
Unparallelicus [o]ffroadicus. A new species from Jeep. Characteristics such as Increased horsepower and torque plus
tougher axles were described on printed cards pinned below
the specimen.
Music became popular in appeals to younger car buyers.
Pontiac showed rubber tire marks on grey asphalt, quavers
and semi-quavers neatly chalked between the treads in each
black line: The rst 5,000 Pontiac G5s come with the digital
mix: A year of XM Satellite Radio, plus an MP3 music download a day for one year. Nissan mixed musical and computing motifs with The Next Nissan Maxima ... Fine-tuned instrument_2.0, seen in a velvet-lined instrument case.
Photographs on the facing page showed a jazz singer, saxophone and bass players, and a percussionist. Hip-hop featured
with vigorous khaki-toned graphics and an artist in full cry in
copy for the all-new Jeep Wrangler Unlimited ... the original
certied vehicle of hip-hop.... The culture grew. So did we.
Other appeals to young car-buyers included Hondas
brightly colored, cartoonish Super Tail Action!... Move over
mullet! You are no longer the undisputed king of stylish tail
technology! for the Honda Fit Sport. Virtual reality-style images depicted the 2007 Jeep Compass against a suburbia-andskyscraper backdrop as gures with speech-bubbles such as
Side-curtain airbags! and All-new design! capered around
the car. Keep it moving! admonished a camp gurine in the
O VERVIEW
AND
foreground. As with Plymouth in 1948, there was a floppyeared cartoon dog at the foot of the page. Advertisers targeted
participants in diverse social and leisure cultures by using tailor-made styles of copy and illustration in magazines about
music, sport, lm, computer games, cartoons, and other interests and activities. The overall result was an increase both
in the number of individual advertisements published, and in
the range of advertising styles deployed at any one time.
Appeals to specically female motorists were more subtle than in the early postwar years, but they still formed a distinct school of copywriting. References to shoes, coffee, handbags, and relationships, individually or in combination, were
commonplace, as from Kia: Attractive, dependable, good with
money. If it made coffee youd marry it.... Youve just found The
One. Sportage is strong and steady.... Mercurys young couple on a desert trip in a Mariner SUV encountered their rst
bump.... Now Karen and Jack were at a crossroads. East or
West? Monster Metal Hits or Books on CD? A Mercury
Milan driver almost missed a sign, Designer Handbag
Outlet This Exit, but in an adaptation of greetings-card
humorjammed on the brakes just in time: 3:12 P.M. Exit 24.
Nicole realizes she doesnt have as much control as her allwheel drive.
More conventionally, Jaguar showed a fashion model with
a Selected Edition Pre-Owned Jaguar X-TYPE.... Jeannel got
into her X-TYPE for under $22,000. Its all red carpet and velvet ropes from here. Can you resist separating yourself from
the masses? For In Style, a couch-bound model with a keep
our secret nger to her lips dangled the keys of a Buick
LaCrosse sedan parked behind her. Consecutive right-hand
pages in Marie Claire showed a Designed for action Pontiac
G6 Coupe (Must have fun), a Solstice sports car (Must have
sex appeal), and a muscular Torrent (Must have style), each
spotlit in black against a black-painted stage. Let the sun
worship you enjoined the same company for a G6 sedan with
an opening four-panel Panoramic Roof.
Typefaces were generally soft; copy concentrated on narrative rather than lists of electronic gadgets; backdrops were
often in pale cream or light mauve; floors were usually tiled
rather than concrete to suggest loft spaces; and grass was
mown rather than wild. For the Toyota Corolla S, twenty-four
pictures showed all the things that the driver could do in a
day; venues included a bookstore, a cuddly animal shop, a
caf, and the inevitable beach at sundown. The driver was a
girl-next-door; her boyfriend slightly idealized, but plausible: Randomize your playlist said the caption. Parenthood
featured in Toyotas advertising, too, as when Toyota targeted
a Highlander Sport, seen beside a lake, at mothers of teenagers:
Best thing to do when your kids leave home: Do the same.
In another piece a hulking freshman stood beside a pile of
bags and boxes, his computer keyboard, skateboard, and giant
electric fan in hand: 5:15 P.M. Dropping the kid off at college.
5:17 P.M. What kid?
C ONCLUSION
245
246
O VERVIEW
AND
It will be fascinating to nd out. One thing seems certain, however: American automobile advertising will never be
uniform, though it may, in recession or in times of increasing
environmental consciousness, be subdued.
Perhaps the last word should go to Edward S. Jordan, creator of the most famous of all American automobile advertisements. Asked by Forbes magazine in 1926 to predict the course
of the American automobile industry, he was optimistic:
C ONCLUSION
Roughly speaking, it is safe to say that the saturation point for
the automobile will never be reached until everyone has a car
and none of them wears out.... In any business where there
enters a style element, there need be no fear of monopoly. Just
so long as women continually change their style of head dress
and the length of their skirts, there is going to be a chance for
every dressmaker. So it is with the car.8
Collectors Note
the result that visually unremarkable but historically interesting black and white (monochrome) ads can be hard to nd
from specialists as there is little demand for them. Many specialists, however, will be happy to look out for such pieces for
regular customers.
The serious collector will avoid color photocopies, except for reference or wall decoration, for which they are ideal.
The reproduction, whether in color or in black and white, will
not be as good as the original, and the feel of the original is
lost. Similarly, avoid color copies billed as reproducing the
patina of age of the original, unless faithfully reproduced
coffee and mildew stains, circa 1955, have a special appeal.
Many professional traders offer framed ads. Find out
whether the ad beneath the glass is an original or color copy,
and do not pay over the odds for a cheap frame that you do not
want, and will eventually throw away. Find out before buying
whether the ad can be lifted out of the frame or whether it has
been glued onto the board behind. Where this has happened
the ad will not be easy to le and might be discolored by the
glue over time. A collector will usually consider such an ad as
damaged rather than enhanced by the frame. Some sellers,
who frame their ads simply to appeal to casual buyers, will be
willing to sell unframed ads at a reduced rate, particularly if
you are buying several at a time.
Care should be taken if buying by mail order. You will
not usually be able to see the ads you need before ordering in
order to gauge their state of preservation, although the thumbnail pictures provided by Internet sellers are undoubtedly
helpful in identifying the ads being sold. Be sure to check the
model year of the car shown as well as the calendar year in
which the ad was published. For example, when ordering,
say, a 1948 Ford ad, nd out whether the ad is for a 1948
(JanuaryJune) or 1949 (JuneDecember) model. Remember, too, that some monthly magazines were dated to the
Magazine originals of pre1980 American car advertisements are no longer as easy to nd as they once were, but interesting material, particularly from the postwar period, continues to be discovered by collectors and enthusiasts. Finding
a specic pre-war ad may take time, but it is surprising what
still turns up, even in the 21st century.
There are two ways to build up a collection. The rst is
to buy either magazine originals or modern copies of magazine ads from the companies and individuals who advertise
on the Internet or in the specialist press. A search under historic car ads or vintage car ads or similar words should
yield several sources. These companies provide a valuable service by making available material which would otherwise remain out of reach. The alternative, which entails persistence,
but which is arguably more satisfying and can be less expensive, is to check out every second-hand bookstore, junk stall,
flea market, and charity sale in your area and to do so regularly. Most of the illustrations in this book are chosen from a
collection of nearly 1,000 ads from the National Geographic
(each ten inches deep by seven inches wide) which were gathered in this way between 1980 and 1995. If there is a large elderly population in your district who throw out piles of longaccumulated magazines from time to time, so much the better.
A question inevitably asked by collectors is: How much
should I pay for an ad? There is only one answer: however
much you want to. The prices asked by traders for individual
ads, and by bookstores for complete magazines, can vary by a
factor of ten or more. Many enthusiasts seek out ads for their
favorite marques, and the collector who has found the ad
needed to complete a set say, the 1940 Lincoln-Zephyr ad
which will complete a run of Lincoln V-12s from 1936 to
1948 might well be happy to pay a high price for it. Generally speaking, attractive ads for popular cars will fetch more
than unattractive pieces for unappealing automobiles, with
247
An advertisers original will often contain information about where the advertisement was placed, and in many cases newspaper
and magazine titles will be listed individually. This Lincoln-Zephyr piece was scheduled to appear in rotogravure and black-andwhite newspapers throughout the country during the weeks of December 12 and 19, 1937.
C OLLECTOR S N OTE
month following actual publication, so that a late ad for one
model year could appear in a magazine dated to the rst
month of the new model year. Occasionally an inexpert seller
might mistake one car for another, and send, say, a De Soto
Airflow when you wanted a Chrysler, or even send a different
car entirely. It is perhaps asking a lot of a general nostalgia
dealer to know every subject in detail, and most are willing to
exchange wrong orders quickly (as they should!). Some are
experts, and funds of useful knowledge.
The purist might want to ignore completely ads taken
from magazines, and to concentrate instead on advertisers
originals of ads supplied by automobile manufacturers and
their agents to magazines and newspapers for reproduction in
those media. These pieces are usually printed in a large size on
good, often glossy, paper. They are necessarily of better original quality than the reproductions printed in magazines
though the margin might not be great but such material is
extremely scarce, is not always carefully stored (a magazine
ad is protected by the pages that surround it), and may be
creased where it has been folded over the years.
The advantage of an advertisers original to the academic
researcher is that, in many cases, a list of the publications in
which it appeared is given at the top or bottom, or on the reverse side. Advertisers originals were often pasted into agencies guard-books as records of their work for automotive
clients, and guard-books which have survived in car makers
or agencies archives, or in museums or research organizations, can sometimes be made available for viewing by serious researchers. This may be the only opportunity for a marque enthusiast to see most or all of the ads in a series, and to
discover which magazines and newspapers carried them when
new.
Original magazine ads should be stored in a dry, stable environment, ideally in display les with plastic leaves which
allow easy reference while preserving them from direct handling, moisture and, importantly, sunlight. Label each ad on
its reverse side with a soft pencil, noting its date and source if
known. Never frame and display either advertisers originals
249
Notes
Part One
1. Bauhaus-pastiche describes a visual style
in automobile advertising characterized by the
use of artistic and graphic motifs derived from
the Bauhaus movement which originated in
Weimar Germany in 1919. A rst-hand account
of Chryslers campaign in Britain is given in Advertising and the Motor-car by Ashley Havinden
and Michael Frostick (London: Lund Humphries, 1970).
2. G.H. Saxon [Bingy] Mills. There is a
Tide..: The life and work of Sir William Crawford,
K.B.E., p. 82 (London: Heinemann, 1954).
3. Harold Haliday Costain in F.A. Mercer and
W. Gaunt (eds.). Modern Publicity: An Annual
of Art and Industry 1935-36, p. 20 (London: Studio, 1935).
4. Ibid., p. 20.
5. F.A. Mercer and W. Gaunt (eds.). Modern
Publicity: An Annual of Art and Industry 193435, p. 12 (London: Studio, 1934). For a selection
of approximately thirty representative advertisements from the 1932 model year, see John A.
Conde. In the Face of Adversity: The Cars of
1932. Collectible Automobile, October, 1996, pp.
825.
6. I.e. copy which cites the demonstrable
virtues of the product or appeals to the readers
understanding of the principles of automobile
design, rather than appealing overtly to his or
her emotions.
7. I.e. those manufacturers who were independent of the Big Three, which were Chrysler
Corporation (Plymouth, Dodge, De Soto,
Chrysler, Chrysler Imperial, Imperial), General
Motors Corporation (Chevrolet, Pontiac, Oldsmobile, Buick, LaSalle, Cadillac), and the Ford
Motor Company (Ford, Mercury, Edsel, Lincoln, Lincoln Continental, Continental). The
principal independents operating during the
19301980 period were, in alphabetical order,
AMC (as Rambler from 195865), Checker,
Crosley, Graham (as Graham-Paige to 1930),
Hudson (to 1957), Hupmobile, Kaiser-Frazer,
251
252
title. I eventually came up with the phrase
Planned Obsolescence, meaning the desire to
own something a little newer, a little better, a
little sooner than is necessary. It did not mean
organized waste.... The average American earns
enough not to have to run a refrigerator or car
until the thing just stops.... Ironically, I designed
the longest [running] concept [of ] car ever apart
from the Beetlethe Jeep station wagon, which
went on year after year, and eventually became
the Wagoneer and Cherokee. For 29 years we
used the same set of tools, patching them and
xing them and making them over, but using
them. Mike McCarthy. Design Intervention.
Classic and Sportscar, December, 1991, pp. 5258.
See also Glenn Adamson. Industrial Strength Design: How Brooks Stevens Shaped Your World, pp.
129134 (Cambridge, MA: Milwaukee Art Museum/MIT Press, 2003). For Brooks Stevens automotive designs, see Richard M. Langworth.
Brooks Stevens: The Seer that Made Milwaukee
Famous. Collectible Automobile, June, 2005, pp.
6877.
27. Cited in Joseph J. Seldin. The Golden
Fleece: Selling the Good Life to Americans, p. 101
(New York: Macmillan, 1963).
28. Alfred P. Sloan. My Years with General
Motors (2nd ed.), p. 265 (London: Penguin, 1986).
29. Vance Packard. The Waste Makers (2nd
ed.), p. 100 (London: Longmans, [1960] 1961).
30. Michael Frostick and Ashley Havinden.
Advertising and the Motor-car, pp. 2022 (London: Lund Humphries, 1970). For Ashley Havindens life and work, see Michael Havinden et
al. Advertising and the Artist: Ashley Havinden
(Edinburgh: National Galleries of Scotland,
2004).
31. Mark Haworth-Booth. E McKnight Kauffer: A Designer and His Public (2nd ed.), pp. 48,
52 (London: V&A Publications: 2005).
32. For the history from 19191990 of Britains leading importer of General Motors cars
(and of American cars) see Geoff Carverhill.
The Lendrum & Hartman Story [Parts IIII].
Classic American, June, 2006, pp. 6062; July
2006, pp. 7376; and August, 2006, pp. 6869.
See also Bryan Goodman. American Cars in Prewar England: A Pictorial Survey (Jefferson, NC:
McFarland, 2004).
33. The Motor Industry of Great Britain [annual], 1955 ed., p. 270; 1956 ed., p. 260. (London:
Society of Motor Manufacturers and Traders
Ltd., 1955 and 1956).
34. For the history of American semi-automatic and automatic transmissions, see Byron
Olsen. Shifty Business: Detroits Drive to Automatic Transmissions, 193055. Collectible
Automobile, December, 2004, pp. 2435. For an
expanded version of this article, see Byron
Olsen. The Shift to Shiftless: Transmission Advances in U.S. Cars (192955). Automotive History Review, Fall 2006, pp. 2541.
35. Wernher von Braun in Cornelius Ryan
(ed.). Across the Space Frontier, p. 12 (London:
Sidgwick & Jackson, 1952).
36. For Mustangs and other American cars
photographed in London during the 1960s, see
Steve Miles. Over Here: The American Car in England in the 1960s (Northamptonshire: SGM
Publishing, 2004).
N OTES
Part Two
1. For the story of Jordan advertising and
for reproductions in color and black and white
of many Jordan advertisements, see James H.
Lackey. The Jordan Automobile, pp. C1C15 and
123132 (Jefferson, NC: McFarland, 2005). See
also Ned Jordan: The Man Who Changed Auto
Advertising, in The Best of Old Cars, Vol. 5, p.
79 (Iola, WI: Krause Publications Inc., 1981).
For an interview with Ned Jordan, see B.C.
Forbes and O.D. Foster. Automotive Giants of
America, pp. 155168 (New York: B.C. Forbes
Publishing, 1926).
2. Alfred P. Sloan. My Years with General
Motors (2nd ed.), p. 278 (London: Penguin,
1986).
3. The Hon. Maynard Greville in Country
Life, April 22, 1939, pp. xxxvixxxviii.
4. See F.A. Mercer and W. Gaunt (eds.).
Modern Publicity: An Annual of Art and Industry
1936-37, p. 82 (London: Studio, 1936).
5. Eoin Young in Autocar, May 4, 1967, p.
91.
6. See F.A. Mercer and W. Gaunt (eds.).
Modern Publicity: An Annual of Art and Industry
1938-39, p. 29 (London: Studio, 1938). For a discussion of Packards advertising of this period,
and of the damage inflicted on a high-priced
line by using its prestige to sell a lower-priced
line, see James A. Ward. The Fall of the Packard
Motor Car Company, pp. 3233 (Stanford, CA:
Stanford University Press, 1995).
7. Stephen Fox. The Mirror Makers (2nd
ed.), p. 165 (William Heinemann, London, 1990).
8. Ibid., p. 166.
9. By contrast, Fords television campaign
for the Edsel of 1957-58 failed, despite the use
of several celebrities and showbusiness stars.
10. My thanks to Taylor Vinson for a large
selection of MG advertisements from this period. For a detailed account of American advertising for the MGB in the 1960s and 1970s under
Reach, McClinton & Co., and from 1970 under
Bozell & Jacobs with the same advertising team,
see David Knowles. MGB, MGC & MGB GT V8:
A celebration of Britains best-loved sports car, pp.
4446 (Yeovil: Haynes, 2004). In the present
book the MG name is written without stops,
as has been usual since the 1960s, except where
the earlier form appears within a quotation.
Part Three
1. Alfred P. Sloan. My Years with General
Motors (2nd ed.), p. 104 (London: Penguin,
1986).
2. Henry Ford. My Life and Work, p. 54
(London: William Heinemann Ltd., 1923).
3. A. Nevins and F.E. Hill. Ford: Expansion
and Challenge 19151932, pp. 594595 (New
York: Charles Scribners Sons, 1957).
4. Ralph M. Hower. The History of an Advertising Agency: N.W. Ayer & Son at Work 1869
1949, p. 142 (Cambridge, MA: Harvard University Press, 1949).
5. From F.A. Mercer and W. Gaunt (eds.).
Modern Publicity: An Annual of Art and Industry
1938-39, p. 30 (London: Studio, 1938). Real
farmers gave testimonials in Studebaker advertising in Country Gentleman and the Farm Journal during 1947.
6. A vivid account of American motoring
conditions during the period up to 1939 is given
in Maurice Olleys paper, National Influences on
American Passenger Car Design, read before the
Institution of Automobile Engineers in London
in February, 1938. The paper is reproduced in
the Proceedings of the Institution, Vol. XXXII,
for the Session 1937/38, at p. 509.
7. Thomas D. Murray. The Strange Beginning of the Chevy Caprice. Classic American,
August/September 1991.
8. Ralph Nader. Unsafe at Any Speed: The
Designed-in Dangers of the American Automobile (2nd ed.), pp. 3643 (New York: Bantam
Books, [1972] 1973).
9. Ibid., p. 192. For safety provision in early
American cars, see Tim Howley. Trial and
Error: An Early History of Auto Safety in America. Collectible Automobile, February 2007, pp.
6473.
10. Ralph Nader. Unsafe at Any Speed: The
Designed-in Dangers of the American Automobile (2nd ed.), p. xi (New York: Bantam Books,
[1972] 1973).
11. Ibid., p. xii.
12. Lee Iacocca: Iacocca: An Autobiography
(with William Novak), p. 39 (New York: Bantam Books, 1984).
13. A detailed account of the Cadets development is given in Consumer Guide (eds.). Cars
that Never Were, p. 10 (New York: Beekman
House, 1981).
14. As exemplied in tests such as those carried out by Motor Life in November, 1954
(Zephyr convertible) and November, 1955 (Zodiac sedan). For these and other tests, see R.M.
Clarke (ed.). Ford Consul, Zephyr, Zodiac Mk I
& II 19501962 (Cobham: Brooklands Books,
1991).
15. Production gures from Consumer
Guide (eds.). Encyclopedia of American Cars, pp.
13, 557 (Lincolnwood, IL: Publications International Ltd., 2002).
16. Ralph Nader. Unsafe at Any Speed: The
Designed-in Dangers of the American Automobile (2nd ed.), pp. 23 (New York: Bantam
Books, [1972] 1973).
17. Vance Packard. The Hidden Persuaders
(2nd ed.), p. 228 (London: Penguin, [1981] 1991).
18. Production and export gures from The
Motor Industry of Great Britain [annual], 1954
ed., pp. 23, 216; 1956 ed., pp. 23, 255 (London:
Society of Motor Manufacturers and Traders
Ltd., 1954 and 1956).
19. Alan Hess. Wheels Round the World, p. 70
(London: Newman Neame, 1951).
20. From gures in Jon Pressnell. Morris
Minor: Exploring the Legend, pp. 97100 (Yeovil:
Haynes, 1998).
21. Maurice Platt. An Addiction to Automobiles, pp. 151152 (London: Warne, 1980).
22. Cited in Tony Freeman. Humber: An Illustrated History 18681976, p. 51 (London: Academy Books, 1991).
23. Walter Henry Nelson. Small Wonder: The
Amazing Story of the Volkswagen (2nd ed.), pp.
233234 (London: Hutchinson, 1970).
N OTES
24. Ibid., p. 230.
25. Ibid., pp. 237238.
26. Ibid., p. 239.
27. Ibid., p. 251.
28. Maurice Platt. An Addiction to Automobiles, pp. 169170 (London: Warne, 1980).
29. Booton Herndon. Ford An Unconventional Biography of the Men and Their Times, p.
236 (New York: Weybright & Tulley, 1969).
30. See Tim Howley. Into the Unknown:
Imported Cars in Fifties America. Collectible
Automobile, December, 2006, pp. 5869.
31. David Ogilvy. Confessions of an Advertising Man, p. 111 (London: Longmans, Green,
[1963] 1964).
32. Ibid., p. 107.
33. Stephen Fox. The Mirror Makers (2nd
ed.), p. 237 (London: Heinemann, 1990). For
Fords quieter than a Rolls-Royce campaign of
1965, see Chapter 13, pp. 179180; and Tim
Howley. 1965-66 Ford: Quieter than a RollsRoyce. Collectible Automobile, April 1994, pp.
4457.
34. David Ogilvy. Confessions of an Advertising Man, p. 109 (London: Longmans, Green,
[1963] 1964). See also David Ogilvy. Ogilvy on
Advertising, p. 216 (London: Orbis, 1983).
35. This advertisement was published in the
Saturday Evening Post of January 2, 1915. For its
genesis, see Stephen Fox. The Mirror Makers
(2nd ed.), pp. 7172 (London: Heinemann,
1990). The ad is reproduced in Jane and Michael
Stern. Auto Ads, p. 17 (New York: Random
House, 1978).
36. David Ogilvy. Confessions of an Advertising Man, pp. 111112 (Longmans, Green, London, [1963] 1964).
37. For an account of Ogilvys life and bestknown campaigns, see Stephen Fox, The Mirror
Makers, pp. 225239. Examples of Rolls-Royce
advertising of this period are shown in ibid., p.
247; and in David Ogilvy. Ogilvy on Advertising,
pp. 10, 59.
38. David Ogilvy. The Unpublished David
Ogilvy, pp. 164165 (London: Sidgwick & Jackson, 1988).
39. David Ogilvy. Ogilvy on Advertising, p. 11
(London: Orbis, 1983).
40. See Joseph J. Seldin. The Golden Fleece:
Selling the Good Life to Americans, p. 97 (New
York: Macmillan, 1963).
253
should be sensuous and voluptuous, very sculptured and when I was thinking about it [the actress] Kate Winslet came to mind.... She is naturally a very shapely woman, very British with
an underlying integrity and ability. Like a car,
she has got substance, she is not just a pretty
face. So I designed the new XK body with her in
mind. The interesting thing is that so many
women nd sensual cars more appealing as
well. John Harlow and Flora Bagenal. Its the
Jaguar XK Winslet, The Sunday Times, November 26, 2006, p. 3 (interview with Ian Callum).
7. See Keith Naughton. Putting Detroit in
the Shop. Newsweek, November 6, 2006, pp.
4446.
8. B.C. Forbes and O.D. Foster. Automotive
Giants of America, pp. 165168 (New York: B.C.
Forbes Publishing Co., 1926).
Collectors Note
1. See Liz Turner. Snapper focuses on advertising art. Classic & Sports Car, October
2005, pp. 6061; Frederic A. Sharf. Future Retro:
Drawings from the Great Age of American Automobiles (Boston: Museum of Fine Arts, 2005);
and David L. Lewis and Bill Rauhauser. The Car
and the Camera: The Detroit School of Automotive Photography (Detroit: Detroit Institute of
Arts/Wayne State University Press, 1996).
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Index
Numbers in bold italics refer to illustrations. References to the color section are identied by the letter C.
259
260
10, 15, 61, 251n.1; cartoons 107,
108, 142, 144, 192, 194, 220, 230,
235, 244245; color 58, 165, 227,
235; computer-created 243;
conventional 106; crystal ball
C7, 141, 142143, 200; Cubism 8;
diagrams 15, 18, 19, 76, 242; dramatic angles 8; drawings: see
drawings; dynamic impressionism 45, 6, 61; elongation C14,
46, 8, 10, 15, 17, 17, 19; exaggerated width 26; exhibitions 249;
graphics 2, 243, 244; impressionism 5; minimalism C8, 10,
13, 97; mock-erotic 149; monochrome 39, 40, 200, 202, 243;
motion in illustrations 6061,
61; multiple illustrations 7, 15,
75, 192, 234; neo-minimalism
15; original 249; paintings 16, 17;
picture stories 107, 108; realistic
3, 8; rescued and collected 249;
rockets C9, 64, 64, 85; side view
C8; signed 249; speedlines 8;
static tableaux 61, 61; stylization
10; surviving original art 249;
tonal contrasts 5, 8, 10; types of
5; versus photography 34, 6,
19, 20, 23, 2728; watercolors,
use of 16
aspiration, social see social aspiration
asymmetry in illustration 8, 10, 60
Atlantic Ocean 6, 167, 231
Austin (marque) 47, 203, 214,
222, 225, 227, 228
Australian Chryslers 187
Australian Fords 187
The Autocar 37, 44, 58, 62, 89,
214, 252Pt.2n.5
autojumbles 249
automobile, American 40, 222
automobile design, intellectual
property in 245
automobile industry 41; American
90, 246; British 222223
automobile makers, American 227
automobile magazines 28
Automobile Manufacturers Association 65
automobile, popularization of 8
automobile production (U.S.) 167,
169, 224
automatic transmissions see
transmissions: automatic
automotive clients (of agencies)
224
Automotive Council for War Production 136
automotive dream, the 241
Automotive History Review vii
Automotive News 230, 235
AutoWeek 241
Avis 83
Ayer, N.W. & Son see N.W. Ayer
& Son (agency)
backdrops (general) 10
backdrops (specic types):
abstract 10; admiring neighbors
19, 101, 102, 156; aerial view 13,
19, 77; aircraft 99; aireld C14;
airport 18, 19, 30, 76, 186;
antiques shop 156, 165, 204;
apartment (modern) 98, 208;
architectural 4, 17, 32, 33;
atmospheric 10; balloons 230;
beach C13, C15, 18, 36, 36, 134,
I NDEX
179, 199, 209, 236; black C8,
C14, 13, 15, 28, 56, 245; bluegrey 13; board meeting 16, 16;
boat deck 21; bordered C8, 15;
brick-red gravel 19, 65, 155;
bridge 32, 33, 43; business 101
102, 104; camping 7; caviar 224;
cherry blossom 13, 30; Christmas scene 109, 140, 166167;
church 53, 185; city 10, 18, 179;
city residential 244; cityscape
C16, 11; classical 17, 93; cliff
face 244; color-toned 23; country club 16, 42; country house
87; country park 19; country
road 19, 103, 130, 131, 156, 185,
193, 238, 243; countryside 87,
108, 117, 157, 157, 179, 199, 201,
212, 217; craftsmans hands 49,
200201, 202; dark C8, C14, 13,
28, 56, 132, 230, 237; day in a
life collage 245; deep blue C12,
17, 64; deep red 71; desert 46,
57, 71, 208, 232, 244; deserted
beach C15; dinner party 16; distanced 11, 13; dockside C4;
domestic scene 16, 206; driveway 16, 243; embroidered cloth
25, 25; English 224; English
church 135; European C13, 28;
evening dress C3, 9, 17, 19, 19,
25, 26, 36, 38, 65, 100, 101, 114,
179, 180, 195; exclusive club 17,
17, 26, 102; fair 216; family 206;
farm 167; fashion models 224;
fashionable resort 19; feminized
150; eld 55, 88, 116, 197, 234,
236; ghter pilots 19; Florida
coast 134; forest 23; formalized
setting 25; freeway 18, 19, 179,
186; gender-specic 245; globe
39; gold cloth 17; golf C10, C11,
83, 170; grass 245; handbag 150;
heating 174, 177, 177; helicopter
156, 233; highway 15, 67, 183,
216, 236, 243; hill 67, 67; historic monument 18; horses 46,
68, 68, 224; hotel 9, 17, 100, 101,
113, 114, 179, 180; house (grand)
14, 87, 93, 93, 96, 187; house
(suburban) 34, 150, 151, 169,
193, 244; house (ultra-modern)
97, 168; indoor C16, 82; industrial 244; instrument case 244;
island 28; Japanese coast 125;
jewelry C12, 16, 17, 23, 24; lake
15, 19, 89, 178, 242; landscape
13; leisure 110; loft spaces 245;
mansions 224; military searchlight 141, 141; mock-classical C3,
243; Monaco 69; mountains 70;
musical score C9; neo-classical
4, 9, 48, 87, 115; neutral 13, 16,
58, 242; night-time C3, 9, 15,
36, 38, 45, 72, 173, 184, 195,
208, 244; observatory 184; ocean
28; ofce 98, 101, 104; old car
meet 131, 133; opera house 87;
orange 18; painting (of nonautomotive subject) C1, 93; park
203; parking lot 79; party 186;
pastoral C11; photocopying
room 245; plain-colored C8, 15,
18; plants 19; polo club 201;
principals ofce 245; provincial
10; quasi-naturalistic 13; quayside 58; realistic 5, 15, 18, 27,
242; rear view mirror 231; resort
I NDEX
(1958) 34; (1961) 215; (1963)
101102, 104; (1964) 70, 78, 79;
(1965) 70, 70, 88, 131, 132;
(1966) 195; 1967 27; (1968) 121,
123, 195; (1969) C14; (1976) 132;
(1991 catalog date) 189; (1992
model year) 189; (1993) 198,
242; (200607) 245
Buick Circus Hour 127
Buick dealers 224, 225, 226
Buick Division of General Motors
31, 136, 139
built-in obsolescence 3940; see
also anti-obsolescence; dynamic
obsolescence; planned obsolescence
Burlington Zephyr 32, 33
Cadillac (marque) 4, 13, 16, 18, 19,
23, 27, 32, 44, 92, 98, 99101,
102, 104, 118, 132, 161, 179, 180,
182, 237, 241
Cadillac (model names): Coupe de
Ville 16, 24, 99, 100, 132; Eldorado 15, 17, 23, 24, 89, 102;
Eldorado Brougham 17; Escalade
244; Sedan de Ville 17; Series 62
Coupe 114; Sixty Special C12, 16,
16, 17, 23, 25, 100, 150151, 151;
SRX Crossover 244; V-12 Convertible Coupe C1; 355 Phaeton
132
Cadillac (model years): (1915) 118,
254n.35; (1930) 132; (1933) C1,
99, 132; (1941) 177; (1948) 17, 37,
49; (194852) 17; (1952) 16, 16,
99, 100, 100, 101, 150151, 151,
159; (1954) 44; (1955) 16, 16, 80,
99, 207; (1956) 99, 100, 207;
(1957) C12, 17, 91, 100, 101;
(1958) 17, 100; (1959) 17, 17, 100,
111, 114; (1960) 24; (1961) 23, 25,
25, 100, 103; (1962) 25, 100, 191;
(1963) 25, 25, 100, 103; (1964)
25, 100; (1965) 25, 49, 100;
(1966) 100, 115; (1967) 102;
(1971) 198; (1975) 132; (1976)
117, 118; (200607) 244
Cadillac Division of General
Motors 31, 80, 100
Calcutta 222
calendar and model years see
annual model change
California 83, 106, 119, 188, 217,
227, 241
Callum, Ian 253n.6
Campbell-Ewald Co. (agency) 99
Canada 62, 74, 132, 174, 221, 222,
230
Cape Town 222
Car and Driver 28
car buyers 1
car buyer, American 172
car design, American 80
car enthusiasts 2, 19, 249
car exports see exports, car
car hobbyists 223
car imports see imports, car
Car Life 28
car market, British 177
car rental companies 83
Car of the Year award 73
carbon-neutral crops 243
Cartier 23
cartoons see artwork in advertising: cartoons
catalog in miniature see layouts:
catalog in miniature
261
comparison testing 115118; see
also comparative advertising
compression ratios 184185, 185
Comstock, Robert 189
Confessions of an Advertising Man
(Ogilvy) 228
Connecticut 5, 119
Continental (marque): Mark II
(195657) 15, 55, 98, 201; Mark
III (1958) 57, 195, 195
conspicuous reserve 241
consumer, identication with 3
consumer culture, American 79
consumer protection groups 217
consumer survey 242
continental kit 155
convenience features 2, 7480
convertible sedan C1
convertibles C1, C8
Cooper, Gary 124
copy: aspirational 15; factual 218
219; impressionistic 3; informal
185, 242; list-based 243; long
218219, 220, 243; minimal C8,
C9, C14, 97; styles of 47
copywriters 3, 19, 32, 44, 49, 67,
85, 89, 160, 181, 227
Cord (marque) 4
Corey, David A. 122
corporate advertising 41, 42, 43,
161, 162, 164, 171
corporate identity 4041
corporate images 41
Costain, Harold 6
country clubs 100
Country Life 252Pt.2n.2
Crawfords see W.S. Crawford Ltd.
(agency)
credit terms 182
Crocker, Dr. 228
Crosby, Bing 124125, 128
Crosley 214, 223
crossover vehicles 243
cruise control 179
Cubism 8
cultural homogeneity 79
cup holder, heated/cooled 243
custom bodies 31, 90, 98
Dagenham, England 165, 166
DaimlerChrysler 244, 245
Darrin, Howard (Dutch) 35
Datsun (marque) 220, 221, 225,
227, 235, 236, 237
Davison, Nurse Margaret W. 146
Daytona Beach 65
Daytona Speed Week 67
Dearborn, Michigan 166, 216
deception in advertising 3, 56
Dempsey, Jack 124
The Depression C1, 6, 8, 10, 15,
33, 40, 91, 97, 99, 167, 169, 220
design costs, reduction of 40
design ideals, futuristic 31
De Soto (marque) 13, 15, 27, 44,
65, 105, 124, 241
De Soto (model names): Airflow
90, 249; Coronado 151, 153, 153,
159; Custom 90; Explorer 203,
205; Firedome 153; Fireflite 46,
151, 152, 153, 159, 203, 205;
Firesweep 203; Sportsman 151,
153, 153
De Soto (model years): (193437)
29; (1936) 90; (1938) 125;
(193941) 65; (1942 model
shown) 127, 136, 137; (1945
advertisement) 127, 136, 137;
(1952) 42; (1953) 65, 74, 75;
262
(1955) 151, 152153, 153, 159;
(1957) 44, 46, 47, 65, 203; (1958)
65, 66, 67, 203, 205
De Soto dealers 106
De Soto-Plymouth dealers 127
detergents (advertising for) 191
Detroit, Michigan 17, 28, 31, 36,
39, 40, 193, 194, 223, 224, 225,
235, 239, 241, 245
Detroit Institute of Arts 249
Detroit Library 249
Detroit photographers 28
Detroit Three 244; see also Big
Three automakers
diagrams see artwork in advertising: diagrams
Diamond Chemicals 17
diesel engines see engines: diesel
Di-Noc (mock-wood trim) 207,
208
display les 249
DKW (marque) 224
Dodge (marque) 13, 15, 28, 44, 59,
65, 121, 131, 241
Dodge (model names): Aspen 186,
186, 213; Caliber 245; Charger
241; Coronet 115; Coronet 500
208; Dart 157, 207; Intrepid 242;
Lancer 215; Monaco 208; Ram
Mega Cab 244; Senior 61; Sierra
203
Dodge (model years): (1927) vii,
61; (1936) 121, 121, 124; (1939
41) 65; (1952) 42, 90; (1958)
203, 208; (1960) 204, 207; (1961)
215; (1962) 90; (1968) 208;
(1970) 241; (1977) 213; (1976)
186, 186, 188; (1993) 242; (2006
07) 244, 245
Dodge Brothers see Dodge
Dodge dealers 106
dogs in advertising 107, 108, 128,
143, 213, 245
Dohanos, Steven 5
door latch design 193
Dorland Advertising Ltd. 228
double-page spreads C14, 39, 68,
68, 243, 244
downsizing 7980, 181, 220221
Doyle Dane Bernbach (agency) 1,
185, 223, 223224
drawings: auxiliary 15, 16, 18, 33;
cartoon 107, 108, 142, 144, 220,
230, 235, 244245; color 16, 28,
216; cutaway 216; humorous 28,
57, 167, 220, 244245; line 33,
40, 167, 218219; miniature 7,
33, 75; pseudo-technical 18, 75;
semi-technical 242
dream-car look 44
dream cars 43, 50, 52, 76, 77; see
also Chrysler (model and design
names): idea cars
dressmaking, analogy with car
styling 41, 53, 54, 246
driving distances 172
driving postures, gendered 156,
157, 160
Dual 10 tires 191
Dubonnet suspension see suspensions: Knee Action
Duesenberg (marque) 4
Durbin, Deanna 124
Dynaflow see transmissions:
Dynaflow
dynamic impressionism, school of
illustration 45, 6, 61
I NDEX
dynamic obsolescence, philosophy
of design 3940, 92, 93; see also
anti-obsolescence; built-in
obsolescence; planned obsolescence
Earl, Harley 31, 37, 39, 40, 47, 48,
81
Earl Automobile Works 31
economic independence (female)
145, 157, 159160
economy see gas mileage
economy, American 40
economy cars 222
Edsel (marque) 34, 3435, 94,
177, 252Pt.2n.9
Edsel Division of Ford Motor
Company 34
education, level of 160
Edward VIII, King of England 125
effortless driving 79
El Morocco 1718
electric lamps 189
electric windows see power features (specic): windows
electrical devices 78; see also features (specic)
electronics-based features 243,
245
elitism, critique of advertising 8
elongator see artwork in advertising: elongation
emissions legislation 73, 188, 232
emotional appeals 150, 228
emulator-achievers 241; see also
VALS
emulators 241; see also VALS
endorsements see celebrity
endorsements
energy independence of U.S. 243
Engel, Elwood 52
engineering (as advertising theme)
1, 41, 81, 87, 104, 105106, 106,
116, 116, 118, 171, 237
engineers 31
engines: Blue Flame 67; diesel 41;
Dual-Jetre C10, 129; Dynaflash
10, 59; Econo-Master 59; Fire
Dome V-8 65; FirePower V-8
65; Golden Lion 65, 85; hemi
V-8 65; Hi-Fire V8 67; I-block
Six 76; Miracle H-Power 64;
overhead-cam 221; PowerFlow
67; Powerflyte 65, 74; Ram Air
73; Ramjet (fuel injection) 67;
rear engines 68, 230; Rocket 64,
85; six-cylinder 69; Starre V-8
70; Spitre 65; Super TurboFire V8 67; Supersonic Engine
200; Thunderbird Special V-8
194; Trophy V-8 71; Turbo-Fire
V8 67, 203; Turboflash V8 67;
valve-in-head 189; V-8 19, 20,
69, 73, 188, 200; V-12 13, 110;
Wildcat V-8 70; Y-block V-8 76
England 5, 30, 58, 60, 70, 228
Enos, Pat 119, 120
environmentalism 235, 243, 246
envy, incitement of 90
EPA ratings 186, 188
ergonomics 156, 157, 172
Erwin, Wasey and Company 174
escapism: 2, C10, 15, 79, 242, 243
Essex (marque) 60
ethanol, as fuel 243
ethics, sexual 83
euphoria (in advertising) 15, 82,
174, 227
I NDEX
Foote, Cone & Belding 34
Forbes magazine 246
Ford (Australia) 187
Ford, Edsel 163
Ford, Henry 161, 162, 167
Ford, Henry II 225226
Ford (England) (model names):
Consul Mk 1 76, 214; Consul
Cortina Super 207; Eight 163,
165, 166; Model C 166; Model Y
165, 166; Model 62 165166, 166,
167, 200201; Ten 163; Squire
207; Utility Car 165; V-8 30
163, 165, 166, 166, 167, 199; V-8
22 49, 163, 165166, 166, 167,
200201; V-8 Pilot 167; Zephyr
Mk 1 76, 214; Zephyr Mk II 204;
Zodiac Mk II 52
Ford (France) Vedette 214
Ford (U.S.) (marque) vii, 56, 28,
67, 68, 107, 108, 111, 115, 119, 161,
169, 172, 174, 199, 207, 215, 217
Ford (U.S.) (model names):
Country Squire 211; Crestline
76, 157, 157; Custom Ranch
Wagon 203; DeLuxe 15; Escape
244; Expedition 244; Fairlane
49, 69, 69, 71, 83, 84, 153, 194,
203; Fairlane Victoria hardtop
193; Fairlane Fordor Victoria 192
194; Fairlane GTA 71; Falcon 68,
69, 69, 215, 216, 217, 227; Falcon
Futura 68; Fordor 142; Galaxie
25, 69, 69, 83, 115; Galaxie 500
70, 179, 228; Granada ESS 238,
239; Granada Sports Coupe 239;
LTD 179180, 228; Model A 3, 8,
57, 132, 163, 221; Model B 8, 163;
Model T 105, 129, 131, 163, 165,
221; Model 48 vii, C3; Model 68
145, 151, 165, 166, 167; Model 78
8, 165, 166, 167; Model 81A 15,
167 168, 182; Model 91A 165,
167, 167; Mustang 69, 69, 70, 73,
88, 159, 241; Parklane 203, 204;
Pinto 132, 221; Sunliner 49, 76,
83, 84, 153, 203; Sports Hardtop
69, 69; Sportsman 199; Station
Wagon 211; Taurus 242; Thunderbird 3, 23, 23, 26, 27, 28, 41,
49, 68, 68, 79, 85, 87, 87, 88, 88,
89, 132, 159, 195, 196, 242;
Tudor 6, 78, 142, 143; V-8 vii,
C3, 6, 8, 8, 15, 67, 143, 145, 151,
163, 165167, 168, 169, 182, 199
Ford (U.S.) (model years): (1931)
3; (1932) 163; (1935) vii, C3;
(1936) 145146, 151, 189; (1937)
8; (1938) 15, 182; (1941) 167;
(1942) 143; (194548) C7, 1, 141,
142143, 143144; (1946) 142
143, 143144, 174; (1947) 78;
(1948) 199, 239, 247; (1949) 35,
144, 174, 247; (1950) 144; (1952)
48, 76; (1954) 67, 76, 157, 157;
(1955) 41, 4849; (1956) 67, 84,
192, 193, 193195, 198, 203, 204;
(1957) 78, 83, 84, 204; (1958)
68; (1959) 23, 68, 242; (1960)
68, 68, 85, 207, 215, 216; (1961)
68, 85, 207; (1962) 85, 87;
(196264) 27, 27, 69, 69; (1963)
28, 87, 87, 88, 227; (1964) 23,
69, 69, 8788; (1965) 88, 179
180, 228, 241; (1966) 115, 179
180, 195, 196, 211; (1967) 78, 88,
210, 211; (1969) 3, 79; (196971)
89; (1972) 88, 89, 221; (1974)
263
(1952) 47, 47, 48, 64; (1953) 214;
(1954) 214
Humber (marque) 39, 204, 223
224
Hummer (marque) 244
humor in advertising 28, 56, 82,
220, 220, 245
Hundred-Million-Dollar Look
(Chrysler) 41, 45
Hupmobile (marque) 4, 31
hybrid cars 243, 244
Hydra-Matic see transmissions:
Hydra-Matic
hydrogen bomb 64
Hyundai (marque) 243
Iacocca, Lee 195
The Ice Follies 224
idea cars (Chrysler) 41, 43
The Illustrated London News 165
illustration, styles of 328
illustrious clients in advertising
125, 125
impartiality in advertising 3
Imperial (marque) 179, 239; see
also Chrysler (model names):
Imperial
Imperial (model names): Crown
115; Custom 54; Le Baron 115,
116, 116
Imperial (model years): (1955) 65;
(1960) 53, 54; (1961) 54; (1962)
115, 115; (1963) 115, 116; (1964)
52; (1969) 116, 116, 118; (1975)
118; (1981) 118; (1983) 118
import boom 223
import buyers, characteristics of
224, 227
import sales, annual 223
import values 80, 102, 104, 235,
237, 245
imported cars 2, 57, 80, 89, 102,
104, 213, 216, 218219, 221, 222
239, 245
imports, car: British 132, 135
impressionism 3, 5; dynamic 45
In Style 245
independent automakers 47,
169, 214, 251n.7
India 222
Indian cars 222, 245
Indianapolis 65
individualism see advertising
themes: individualism
indoor color photography C2, 82
industrial design 33, 34, 39
industrial relations 16, 221
Inniti (marque) 244
Institution of Automobile Engineers 252Pt.3n.6
insurance companies 70
intellectual property (in automotive design) 245
Intercontinental Ballistic Missile
35
interior space 30
international advertising 5
International Harvester Company
211, 213
International Travelall 211, 213
internationalism in advertising
245
Internet 247, 249
intrinsic excellence, invocation of
92
investment, advertisements as 249
Issigonis, (Sir) Alec 227
Italian advertising 4, 39, 215
264
Italian Alps 37
Italy 37, 39, 41
J. Stirling Getchell (agency) 1, 105,
106, 169, 243
J. Walter Thompson (agency) C7,
1, 105, 141, 179, 193, 194
Jaguar 223, 241, 243, 245, 253n.6
Japan 125
Japanese cars C15, 1, 221, 222, 225,
235237, 239, 241, 242, 243,
244, 245
Japanese roads 225
Jeavons, Ronald 222
Jeep (army) 211
Jeep (marque) 244, 251n.26
Jeep Wagoneer 211, 211, 213,
251n.26
Jeepster 211
jet propulsion 34
jewelry, use of C12
Jones, Jack 128
Joneses, keeping up with 101, 102,
157
Jordan, Edward (Ned) 71, 81, 228,
246
Jordan automobiles 1, 82,
252Pt.2n.1
Juba 222
judgment as social signier 92
Judkins (coachbuilder) 98
junk stalls 247
Kaiser, Henry J. 214
Kaiser (marque) 35, 49, 74, 193,
200, 214
Kaiser-Darrin 161 41
Kaiser-Frazer Corporation 49,
200, 215
Kaiser Jeep Corporation 211, 211
Kaufman, Van C13, 26, 28, 72,
249
Keller, K.T. 41
Kensington, Maryland 191
Kew, west of London 60
Kia (marque) 245
Klocker, Carl L. 122, 221
Knee Action suspension see
suspensions: Knee Action
knocking copy 105, 115
Kona Kai Club 83
Korean cars 243, 245
Kowalski, Edward and Roman 140
Kudner, Arthur 174
The Ladies Home Journal 145, 150
language, informal 185, 242
LaSalle (marque) 5, 32, 131, 161
layouts (general) 2, 3, 19, 27, 242
layouts (specic types): angled
block C5, 7, 8, 15, 19; asymmetrical 8, 10, 60; catalog in miniature 12, 15; convergence of in
1960s; diagonal C5, 7, 8; double-page spread C14, 39, 68, 68,
243, 244; multiple diagrams 15,
18, 19; multiple paintings C5, 7,
192, 203, 204; multiple photographs 12, 20, 38, 163, 177, 211,
234, 238; neo-minimalistic 15,
28; newsprint 106, 107, 107; picture story 94, 107, 108, 199; segregated photograph/headline/
copy 21
learner drivers 121
leasing of new cars 242
Le Baron (coachbuilder) 98, 127
Lecat, Walt 127, 128
I NDEX
legislation: anti-emissions 73,
232; lemon laws 189; recall
189; gas mileage 185; safety 195,
232; side-impact protection 198;
see also p. 217 (Chevrolet Corvair)
Le Mans 129
lemon laws 189
Lendrum & Hartman (GM
importer in Britain) 252n.32
leisure goods (non-automotive)
108
Lever House, New York 98
Lexus (marque) 241
Liberator bomber 136, 139
life assurance (advertising for) 191
Lifeguard campaign (Ford) 192,
193, 193195
Lifeguard tires (Goodyear) 191
light cars 14
Lilliput 216
Lincoln (marque) vii, 3, 4, 13, 25,
44, 49, 92, 94, 9697, 9697,
9899, 99, 110, 118, 179, 237; see
also Continental (marque)
Lincoln (model names):
Brougham 98; Capri 21, 49, 97,
127; Continental (194048) C8,
15, 97, 98; Continental (1958):
see Continental (marque); Continental Mark IV (1959) 57;
Continental Mark V (1960) 57;
Continental (196167) 52, 52,
53, 57, 88, 230, 237; Continental
Mark III (1968) 55, 57, 195;
Continental (1978) 239; Cosmopolitan 98; Futura 50, 52;
Mk X and Mk Z 244; Model K
(V-12) 98; Navigator 244; Premiere 49, 50, 51, 113; Two-Window Town Sedan 96, 97; Versailles C16; Zephyr C4, C16, 6,
11, 13, 15, 29, 30, 32, 33, 34, 58,
59, 59, 98, 110, 149, 163, 182,
189, 247, 248
Lincoln (model years): (1926) 96,
96; (1927) 96; (1930) 96; (1931)
96; (1934) 96; (1935) 97, 98;
(1936) 247; (1937) C4, 11, 13, 32,
33, 110, 182; (1938) 13, 58, 59,
9798, 182, 248; (1939) 29, 30,
32, 33; (1940) 98; (194648) C8,
15, 97, 98, 247; (1949) 98; (1952)
49, 63, 97, 98; (1954) 44; (1955)
17, 19, 21, 49, 67, 127; (1956) 49,
50; (1957) 50, 51, 52, 111, 113;
(1958) 128; (1959) 57; (1960) 57;
(1961) 52, 52, 99, 230; (1962) 52;
(1965) 52, 53, 57; (1967) 99, 99;
(1968) 55, 57; (1972) 89; (1977)
C16; (1978) 239; (200607) 244
Lincoln Cars Ltd. (England) 70
Lockheed P-38 Lightning 49
locomotives 240
Loewy, Raymond 31, 3536, 37,
40, 47, 52; see also Raymond
Loewy Associates (U.S.)
Loewy Studebakers see Studebaker: Loewy models
London 60, 61, 62, 126, 165, 222,
252Pt.3n.6
London-to-Lands End Trial 135
Long Island 199
Los Angeles 225
low-priced marques 10, 12
luxury cars C14, 25, 80, 118, 222,
239; European 104, 125, 126, 165,
227, 239
I NDEX
new cars, postwar shortage of 110
New England 83, 84
New Jersey 220
New Mexico 132
New York (City) C16, 11, 13, 33,
41, 57, 98, 121, 156, 223, 228, 229
New York dockers 41
New York Worlds Fair 33
The New Yorker 243
Newark, New Jersey 220
newspaper advertising 2, 5, 10, 15,
32, 33, 179, 248, 249
newsprint, limitations of 5, 10
Newsweek 234
Niangara 222
niche boundaries 28
niche marketing 71
Nissan (marque) 225, 244; see also
Datsun
Normandy 136
North America 243
North Carolina 83
Northern California 241
Northmore, Jimmy 249
nostalgia 128, 129135, 189
nostalgia dealers 249
nostalgists 3
Nufeld Organization 223
Nrburgring 237
N.W. Ayer & Son (agency) C3, 15,
41, 42, 43, 140, 145, 163, 165
Oakland, California 119
objectivity factor 119128
obsolescence see anti-obsolescence; built-in obsolescence;
dynamic obsolescence; planned
obsolescence
occupations in advertisements:
aerospace technician 242; aircraft engineer 119; architect 115;
author 128; banker 116; baseball
team 203, 204; buffalo rancher
121; businessman 116; canoeist
242; celebrity 124125, 127128;
chorus girl C6, 149, 150; civil
dignitary 125; columnist 128;
commuter 200; director, public
school bands 119; doctor 115,
116; engineer 119; estate owner
200; executive 239; explorer 121;
farmer 167, 200, 252Pt.3n.5;
fashion designer 151, 153; lm
star 124; nancier 239; reghter 119; homemaker 242;
hotel engineer 121; interior decorator (as hobby) 119; jazz
musician 244; lawyer 116, 239;
manufacturer 121; marksman
121; mechanic 121; military dignitary 125; naval reghter 121;
nurse 146; painter 128; pilot 230;
police ofcer 119, 120; professional man 200; property tax
analyst 242; publisher 128; real
estate investment counselor 121;
retired military 242; Service
personnel 149; small businessman 119, 213; sportscaster 121;
sportsman 243; store manager
242; technician 200; U.S. Coast
Guard 121, 122; writer 124, 124
off-road vehicles see SUVs
Ogilvy, David 1, 82, 228229
Ogilvy, Benson & Mather (agency)
228, 229
oil crisis 185
oil supply 185, 243
265
219, 220; Volar 211, 213; see also
Valiant (1960 model year)
Plymouth (model years): (1928)
105; (1929) 105; (1932) 105;
(1933) 105; (1934) 105106, 106;
(1935) 119, 172173, 173; (1936)
106, 106, 119, 120, 162, 189;
(1937) 106, 107, 119, 146, 148,
242; (1938) 12, 15, 106, 161, 163;
(1939) 4, 5, 59, 106107, 125;
(1940) 107; (1942) 102; (1945)
140; (1948) 174, 176, 245; (1949
[48 carryover]) 107, 109; (1949
new style) 41, 108, 110, 176,
199200, 201; (1950) 107108,
169, 170; (1952) 42, 48; (1953)
101, 102, 199200, 201; (1954)
C11, 127, 170, 170171; (1956) 44,
67, 110, 111, 153, 154; (1957) 47,
67, 83; (1960) 204, 207, 213;
(1967) 102, 104, 104, 217,
218219, 220; (1978) 212, 213
Plymouth Binder Twine 162
Plymouth Quality Chart 107
plywood paneling 199, 201
Poiret gowns 93
pollution 79
Pontiac (marque) 27, 28, 32, 59,
241
Pontiac (model and design
names): Bonneville 26, 27, 131,
133; Catalina 22, 201; Eight 32,
33; Executive 208; Firebird 27,
72, 73; Formula Firebird 73,
186, 188; Grand Prix C13; GTO
27, 71, 71, 73, 159; G5 244; G6
245; Safari 201; Solstice 245;
Sprint 71; Star Chief 153, 155;
Tempest 27, 71, 215; Tempest Le
Mans 71; Torrent 245; Wide
Track 26, 27, 28, 47, 73; 860
Series 47; 870 Series 22, 23
Pontiac (model years): (1936) 47;
(1937) 32, 33; (1950) 47; (1955)
19, 22, 23, 201; (1956) 23, 47,
153, 155; (1957) 27; (1959) 27,
47; (1960) 26; (1961) 215; (1964)
C13, 71; (1965) 71, 71; (1966) 71;
(1967) 71, 208; (1968) 72, 131,
133, 195; (1976) 73, 186, 188;
(200607) 245
Pontiac dealers 224, 225, 226
Pontiac Division of GM vii
popular taste 31
Porsche (marque) 230, 233, 245
post-gasoline era 245
poster in miniature C14
power features (general) 17, 19,
74, 76, 78, 159, 174
power features (specic): brakes
68, 74, 76, 78, 156157, 157, 159,
189; gear shifting: see transmissions; seats 74, 76, 78, 156157,
157; steering C10, 68, 74, 76, 78,
156, 159, 195; windows 74, 76,
78, 94, 156157, 157
practical aspects of car ownership
2, 161239
practicality see advertising
themes: practicality
press advertisements 2
prestige cars 104
printing, newspaper 5, 10
printing techniques 28
production engineers 32
professional classes 101, 237, 239
professional publications 249
progress, belief in 29, 240
266
progressivist myth 8
promotional lm 195
psychographics 221, 241
Punch 165
quality control 16, 27, 27, 40, 162,
212, 230, 235, 242
radio advertising 90, 125, 127, 179
radio, domestic 125, 127
Railton (marque) 60
Rambler (marque) 74, 111 121,
122, 220, 221, 242; see also Nash
(model names): Rambler;
American Motors Corporation
(AMC)
Rambler (model names): American 214; American 220 sedan 220;
Classic 122; Classic 770 122, 221
Rambler (model years): (1958)
220; (195860) 214; (196163)
214; (196365) 121, 122, 220;
(1965) 111, 115
Rambler Motors (AMC) Ltd.,
London 221
range advertising 19
rationality, appeals to 13, 58, 59,
111, 182, 183, 251n.6
rationality as social signier 92
Rauhauser, Bill 28
Raymond Loewy Associates (U.S.)
35
Raymond Loewy Associates (London studios) 39
Reach, McClinton & Co. (agency)
252Pt.2n.10
Read, Herbert 29
realism in advertising 2, 6, 10, 18,
19, 27
rear engines 68
recall procedures 189
recession (1990s) 2, 243
reclining seats C10
refrigeration see features
(specic): air conditioning
refrigerators 29, 41
reliability (as advertising theme)
96, 162, 220, 229
Renault (marque) 229230, 230
repeat purchase 92
research organizations 249
rigidity 30
Rittenhouse Square 98
road testers 58, 8384, 89, 214,
228
Roche, James 179
rocket imagery 34, 64, 64, 68; see
also artwork in advertising:
rockets
Rockwell, Norman 107, 128
Rogers, Ginger 124
Rolls-Royce (marque) 1, 5, 115,
125, 126, 179180, 199, 228229
Roman columns (in backdrops)
17
romance (as advertising theme)
23, 89
romantic ction, style of copy 89
The Rootes Group 39, 204
Round Australia Rally 225
Rover (marque) 39, 229
The Roverbaker 39
Rue de la Paix 145
rural communities 160
rural motoring 146
Russia 34, 35
Russian advertising 245
Russian experimental graphics 61
I NDEX
Saab (marque) 244
Sabrina MG bumper guards 132
Sacco, Bruno 3637
safety (as advertising theme) 32,
67, 72, 145, 146, 189198, 229,
242, 243
safety (general) 79, 145, 189198,
229; see also p. 217 (Chevrolet
Corvair)
safety belts see seat belts
safety features 72, 73, 229, 242
Sahara desert 222
sales/leisure complex 215
San Diego 83
San Francisco 180
sandbags, lowering device 35
Saturday Evening Post 31, 49, 81,
90, 125, 253n.33
Saturn (marque) 242, 243
Sauerbrey, P.C. 162
scale models 6970, 200
SCCA 135
Scientic American 42, 64, 234
scientic developments 33
Sears department stores 214215
seasonal advertising 82, 149, 149;
see also Christmas advertising
seat belts 189, 193194, 195, 198
seat cushions 16, 174, 176
seat height, as advertising theme
41, 174, 176
second-hand cars see used cars
Secreto, Jim 249
sedan (body type) 172
sedan delivery (body type) 108
seductive passenger, woman as
157, 159, 159
Selje, Fred A. 127
sellers market 37
service manual, copy in style of
89
service personnel C4
Shelter Island, California 83
shooting brakes, British 199
Shore, Dinah 131
show business celebrities see
celebrity endorsements; occupations in advertisements
silence (as desirable in a car) 172,
173
Silver Spring, Maryland 121
Silver Streak styling (Pontiac)
47
Simca (marque) 198
Simeon, John E. 121
size categories 28
Sleigh, Ralph 222
Sloan, Alfred 31, 41, 53
small-town values 109, 162
Smith, Kate 125
snobbery (in advertising) C1, C2,
8, 34, 182, 242, 243
social advancement 29
social aspiration 1617, 23, 25, 34,
90104
social class 90104, 160
social idealism 34
social paranoia 81
societally conscious achievers 241;
see also VALS
Society of Automotive Engineers
(SAE) 36
Society of Automotive Historians
vii
solid citizens in advertising 119,
120, 121, 121, 122, 242
space rockets 34, 64
space travel 34
I NDEX
Mesh 59; automatic 62, 71, 78,
85, 188, 229, 237, 252n.34;
Automatic Overdrive 62; Automatic Safety-Transmission 62;
column-shift 59; Cruise-OMatic 68, 180; Drive-Master 63;
Dynaflow 63; fluid coupling 65;
Fluid Drive 65; Electromatic
Drive 94; Fordomatic Drive 76,
157, 157; Handi-Shift 59, 74;
Handy Shift 59, 74; Hondamatic
237; Hydra-Matic Drive 62, 63
64, 65, 85; overdrive 81; Perfected Remote Control Shifting
59; PowerFlite 65, 74; Powerglide 67; Prestomatic 65; pushbutton 34, 65, 86, 177;
semi-automatic 62, 62, 237,
252n.34; stick-shift 121, 151;
Super-Matic 63; three-speed 71;
Teletouch 34; TorqueFlite 85,
86; Turbo-Drive 63; Turbo
Hydra-Matic 70; Twin Turbine
Dynaflow 63
transparent tops 74, 76, 77
transportation-value 30
Triumph (marque) 135, 217, 223
trucks, commercial 108
trunk space 6
Trull, Major M.E. 121, 121
Tucker (automobile) 191, 193
Turin, Italy 41
Turret Top (body) see features
(specic): Turret Top
two-way tailgates 210, 211
21st century advertising 1,
243246
267
Willys (marque) 214, 241
wind resistance 29
wind tunnel 235, 236
Winslet, Kate 253n.6
Winstanley, Warren O. 28, 249
Winston, Harry 17
Wolfsburg 63, 224
Wolkononowicz, John 245
women, economic independence
of 145, 157
women in advertising vii, 19, 63
64, 71, 119, 129, 136, 137, 145
160, 237, 242, 245
womens magazines see femaleoriented publications
wooden bodies 199, 200, 200, 201,
203, 207; see also mock-wood
trim; station wagons
World Trade Center, New York
City C16
World War I 105, 129
World War II 2, 33, 36, 61, 62, 64,
107, 127, 138139, 151, 182, 214,
222, 240; see also wartime
advertising
Wolseley 107, 222
working environment (industry)
16
W.S. Crawford Ltd. (agency) 45,
60
yard, origin of 165
Yellow Cab 57
Young & Rubicam (agency) 94
young car buyers 28, 57, 80
Zepke, Walter 119